Wendy without Michael and John? Mr Darling without Mrs? Crossing dressing mermaids? One might consider all of this sacrilegious but it could not be more of a salute to JM Barrie’s endearing story.
Given that Morgan Lloyd Malcolm’s playwriting credits include a clutch of Lyric Hammersmith pantomimes, her new stage version of Lewis Carroll’s mad-as-a-hatter tale might be expected to re-locate 1860s Wonderland in Pantoland.
One of Samuel Beckett’s earlier novellas, First Love was originally written in 1946 but remained unpublished until 1973.
To a libretto by Peter Sellars based on the Old Testament, the New Testament, the medieval abbess Hildegard of Bingen and the writings of half a dozen politically active and mainly female 20th-century poets, John Adams’ passion oratorio premiered in concert in Los Angeles in 2012.
This spare and original resetting of Cinderella to Mousetown, where characters lend each other a paw, oozes charm and humour, as well as highlighting the talents of two highly accomplished puppeteers.
With this new version of Sophocles’ lesser-known tragedy Philoctetes, the Yard continues to establish itself as a home for bold and imaginative work.
The latest episode in this venue’s current programme of work on the theme of revolution and resistance is a story about a rebellion of primary school children - and it features a cast which includes 15 eight to 10-year-olds.
The quarterback of the Hoke’s Bluff American football team has one shot to seize the day - one more throw of the dice, one more ‘play’.
The dwindling numbers of audience members returning to their seats after parts one and two of Rambert’s triple bill, speaks volumes.
The shabby was too chic for some when Dublin’s Abbey Theatre (in a 2011 co-production with the National) evoked the city’s 1920s tenements with glistening, painterly effects.
David Hare delivers an impressive dramatic reconstruction of Katherine Boo’s painstakingly detailed account of life in a Mumbai slum where hordes of families jostle for a living, either by collecting bits of discarded plastic or metal or (far more lucratively) using the system of an increasingly prosperous, modernising nation to siphon off grants.
There’s a sure-footedness about Laurent Pelly’s L’Elisir d’Amore, now receiving its third revival at the Royal Opera House.
In 2011, the ever-invaluable Finborough in Earl’s Court uncovered another of its regular rediscoveries with the first-ever revival, since its original production in 1950, of Emlyn Williams’ Accolade.
Returning to the West End for a Christmas run, this charming rendition of the Axel Scheffler and Julia Donaldson (of Gruffalo fame) classic continues to enchant.
When is the perfect girlfriend too perfect? When she seems always, uncannily, on your wavelength? When she repeats the same perfect moves in bed, night after night? When she can state the exact number of decibels the nightclub soundsystem is pumping out? This, in Soren Nils Eichberg and Hannah Dubgen’s new one-act Royal Opera House commission, is when Alex starts to feel uneasy.