Lochlan Bloom reviews a double bill of plays: Private View, Václav Havel’s commentary on moral compromise in a dictatorship, and Catastrophe, Beckett’s tribute to said Czech dissident.
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2015 marks the twentieth anniversary of the premiere of Sarah Kane’s Blasted. Everywhere, Sarah Kane productions are sprouting up – but the most comprehensive exploration of the writer remains this ...
The excellent monologue Chef, by Litro alumnus Sabrina Mahfouz, places universal issues of life and death in an inescapably feminist frame.
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Edward Albee is known for exerting iron control over productions of his plays. Erik Martiny reviews a Paris production of his one of a rare, experimental prequel.
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This year, the great Japanese theatre director Yukio Ninagawa turns eighty. Xenobe Purvis reviews two of his productions at the Barbican
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The Flannelettes, a new play by Richard Cameron, is a classic example of classic light-hearted social realism in the Billy Elliot vein.
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In a new feature, The Paris Review, critic Erik Martiny reviews productions from Paris. Here, he reviews a flagship production of Demons by Lars Norén, considered Sweden’s greatest living playwright.
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Hailey Bachrach watches three different versions of Shakespeare’s Henry V – one in Galway (at the Mick Lally Theatre) and two in London (at the Unicorn Theatre and the Wheatsheaf ...
Just as the Globe and Propeller present all-male Shakespeare without explaining why, Smooth-Faced Gentlemen’s all-female Titus Andronicus offers no commentary for its casting: it simply is.
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Golem, by theatre company 1927, is both a social commentary and a celebration of the liveness of theatre.
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Last month saw the curtain come down on Sheffield Theatres’ flagship season of Sarah Kane plays. Dr Nina Kane, artistic director of Cast-Off Drama and a specialist on the playwright, ...
Three short Samuel Beckett plays are currently being performed at the Old Red Lion Theatre. They seem incredibly disparate – but, in fact, argues Ana Malinovic, they all share a ...
In recent years, we have seen a resurgence of “plays with music”. Burn Bright Theatre’s ambitious revival of Vernon God Little is an excellent example of the genre.
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Philip Ridley’s darkly hilarious Radiant Vermin is his latest withering dissection of the concept of parenthood.
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Robert Holman’s new play has, at its core, five disparate but simple images. In a climate where theatre so often aspires to the cinematic, this is truly refreshing, writes Xenobe ...
Love to Love to Love You sees actress and writer Florence Keith-Roach bring Schnitzler’s La Ronde into the disco era.
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In Spain and Latin America, José Luis Acosta is one of the most acclaimed writer-directors for the screen. In the UK, he’s an unknown. This dramatised reading sought to change ...
It’s often overlooked that Othello ends with not one, but two, marital murders. This bold new production, set in contemporary London, allows Emilia’s tragedy to stand alongside Desdemona’s.
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Spoken Mirror’s There’s a Monster in the Lake, a stirring trip through an enchanted woodland which opens this year’s VAULT Festival, is a rarity in theatre: a piece that could ...
Contact.com is about an Islington-based professional couple who advertise online for sex with another couple. However, argues Laura MacDougall, what could have been an incisive look at sex in ...