Popular BBC Scotland sit-com Still Game takes a new step into a 12,000-seat arena theatre, seven years after the last of its six series.
Blackeyed Theatre’s resourceful, progressive adaptation of Stephen MacDonald’s 1982 First World War poets drama, about the relationship between Wilfred Owen and Siegfried Sassoon, offers fresh evidence that Blackeyed is ever-willing to try a different angle.
The Gate Theatre begins its 35th anniversary Who Does She Think She Is? season with the UK premiere of Adam Rapp’s almost-monologue.
Off-Broadway actor, director and playwright Geoffrey Nauffts was also formerly artistic director of the New York theatre company Naked Angels, under whose auspices his play Next Fall originally premiered in 2009.
Fifth Column sees immersive theatre company CoLab utilise cutting edge technology - augmented reality, near field communication and geocaching no less - to turn us all into spies for a night.
It was a masterstroke by the National back in June to have this play waiting in the wings as the verdict in Rebekah Brooks’ trial was announced, and then to open it just five days later without a single public preview.
Richard Eyre enjoys telling the story about when he wrote to Joan Littlewood about staging Oh What a Lovely War at the National Theatre.
So what was it that finally convinced actor Maxine Peake and Manchester Royal Exchange artistic director Sarah Frankcom to stage their production of Hamlet after years of discussing it? “I just think we need to keep pushing ourselves,” says Peake during BBC Radio 4’s Hamlet Undressed.
Given its central position in the Royal Ballet’s repertory - and arguably late 20-century dance - it’s fitting that the company is opening its 2014-15 season with Kenneth MacMillan’s Manon.
David Hare’s dense dialogical tracts wrestle with big ideas in static plays; they’re worthy and wordy but meaty too, here throwing up complicated provocations about the Iraq war and military intervention.
High-flying and lofty, Richard Burton’s recording of Dylan Thomas poems - following a clear narrative from In My Craft and Sullen Art to And Death Shall Have No Dominion - provides a mellifluous soundtrack to the opening half of this cerebral double bill from Scottish Ballet.
Stewart Parker’s final play deals with a society which, like its writer, was in the throes of terminal illness.
Before this revival by Anthony Biggs, John Van Druten’s pacifist play had been all but lost and hasn’t been seen on stage since the Second World War.
In an online age, when tweets and blogs are seen as essential tools for political campaigning, this new play about events surrounding the successful 1972 building workers strike and the ongoing efforts to overturn the subsequent convictions and imprisonment of trade union members involved as flying pickets, is a reminder that live theatre is one of the most social of media.
Since Giles Havergal’s production with David Hayman in 1970, Hamlet has become an important play for subsequent directorial regimes at the Citizens.