Rory Mullarkey’s tricky new play contains passages which are rallying, angry and necessary, but it also seems wedded to an absurdist mode of expression which ends up undermining its raw, odd energy.
Nicholas Hytner’s Oliver award-winning 1985 production of Handel’s Xerxes has aged well, if it’s aged much at all.
Written in 1994, the brittle themes and violent action of Philip Ridley’s play shocked audiences and divided critical opinion while cementing ‘in-yer-face’-style theatre with contemporary audiences.
In New York, Forbidden Broadway always stands consciously (and sometimes self-consciously) on the sidelines, throwing potshots at its illustrious targets from the safety of a perch Off-Broadway.
Peter Rowe and Ben Goddard have concocted a heart-warming theatrical treat about a 25-year university reunion in a cottage in the middle of Wales, featuring some fine songwriting (this is a play with music, not a musical).
Has Britain’s Got Talent awoken the nation’s slumbering love of variety, or is it the competitive aspect of the series that attracts and enthrals millions?.
Creating work that is genuinely scary on stage is always tricky, but this production of two of Daphne Du Maurier’s short stories engenders chills of disquiet and even the first prickles of dread.
This is the seventh revival of a staging that threatens to become as much of a fixture as was Jonathan Miller’s English National Opera production.
For this special series of programmes, recorded at the 2014 Happy Days Enniskillen International Beckett Festival, five different ‘authors’ discuss the influence Nobel Prize-winning playwright, author and poet Samuel Beckett has made on their lives both personally and creatively.
Tradition has it that it is the fate of painters only to find fame once they are dead - particularly if their death is a tragic one.
It’s hardly an original idea: the spectacle of plays going wrong have long provided comic delight from Shakespeare’s A Midsummer Night’s Dream to Michael Frayn’s Noises Off, but seldom has a theatrical evening been so utterly and entirely sustained by it.
A verbatim script made up of interviews and film dialogue spoken by Tom Cruise is the basis for this surreal cross-examination of celebrity culture, fame, and the modern man.
Mike Bartlett’s wonderfully imaginative “future history play” is the fourth West End transfer for the Almeida Theatre inside a year.
In terms of noise, this show could well go on to generate the loudest laughs in town when, later this month, it joins an ambitious line-up of stand-ups as the main theatrical offering at this year’s Liverpool Comedy Festival.
A 1980 Broadway hit about PT Barnum, the 19th-century circus entrepreneur and self-styled “greatest showman on earth”, has now been revived, co-produced and co-revised by Cameron Mackintosh, who, according to his programme biography, has produced more musicals than anyone else in history.