Switching between 1945, 1990 and 2011, Tena Ĺ tiviÄŤić’s 3 Winters is a sprawling yet intimate portrait of family conflict amid the warp and weft of Croatian history.
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A biscuit-eating Boris Johnson, a red-gloved mime and a William Shatner-style version of Eurythmics’ “Sweet Dreams”. These are only some of the strange goings-on in What Not Cabaret.
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Michael Reffold enjoys two pieces of physical theatre: one inspired by E.M. Forster’s The Machine Stops, the other by Soviet-era absurdist Daniil Kharms.
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In the candle-lit Sam Wanamaker Playhouse at Shakespeare’s Globe, the audience is immersed in the shadowed world of John Ford’s Jacobean tragedy – simultaneously dark and playful.
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The mid-life crisis of a bored housewife is certainly nothing new – one need only watch Shirley Valentine. How does this new play, by hotly-tipped young writer Sarah Simmonds, measure ...
Since Punchdrunk debuted their iconic Sleep No More in 2003, the immersive hotel experience has become a subgenre of its own. Ana Malinovic looks at the latest example by emerging ...
The Tristan Bates Theatre double-bills a new play – Catriona Kerridge’s Shoot, I Didn’t Mean That – with the epilogue from Karl Kraus’s titanic Great War satire, The Last Days ...
The Unquiet Grave of GarcĂa Lorca is the second play by veteran theatre critic Nicholas de Jongh. Now it’s the critic who opens himself up to criticism. Charlotte Fereday steps ...
For the first half, Theresa Rebeck’s Seminar, set on an exclusive creative writing course, is an episode of Friends with literary dressing. In the second half, it becomes more assured ...
When performing a monologue, managing the audience is a tricky balancing act; you don’t want them to switch off. So how does The Me Plays, a rhyming monologue by actor-writer ...
Dan Hutton, author of Litro‘s acclaimed column Drama Matters, is stepping down after seven months to concentrate on making theatre, rather than writing about it. In his final column, he ...
The modern tendency to unearth past trauma in public means The Space’s Anna Weiss – about False Memory Syndrome – couldn’t be more relevant. However, says Lochlan Bloom, it raises ...
Donkey Punch, at Lower Manhattan’s SoHo Playhouse, positions itself as a statement play about the modern relationship. It’s fun – but it’s also curiously regressive, says Tara Isabella Burton.
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Play/Date, a collection of 25 short plays performed across the three levels of a bar and nightclub, could so easily have been a mess. Instead, says Tara Isabella Burton, it’s ...
Critic and filmmaker Mark Cousins recently rebuked arts venues for being too middle class. The Soho Theatre’s English-language production of Verdi’s La Traviata is an ideal antidote to this kind ...
Xenobe Purvis reviews Swings and Roundabouts, a new take on Arthur Schnitzler’s La Ronde. It’s perfectly pleasant but, she asks, where’s the original shock factor?
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As Shakespeare in Love opens at the Noel Coward Theatre, Xenobe Purvis looks at how generations have shaped the Bard in their image.
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Becky Ayre is impressed by Beyond Caring, an affecting portrayal of the “invisible” working class. Not only that, but it may even improve our capacity for empathy…
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In 2006, Kurt Vonnegut told a class of schoolchildren how art could benefit their souls. Now, at the Arcola Theatre, fifty East London teens show that they have heeded his ...
Last week, the National Theatre suddenly announced that Richard Bean’s phone-hacking satire Great Britain would open five days later. But can theatre really achieve a sense of topical immediacy?
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