Rough-hewn and powerful, the National Theatre of Scotland takes Joe Corrie’s great cry of pain on behalf of working men and their families, and places it firmly in the community from whence it came.
If eyes are the window to the soul, Elena’s are as revealing to passers-by as a dormer tilted unhelpfully towards the skies.
Pitcairn is the middle of three new shows, all by Richard Bean, that are being presented across a little over three months, in between the surprise late June premiere of Great Britain at the National (a play that was only announced five days before it opened and is now transferring to the Haymarket) and Made in Dagenham, a new musical coming to the West End’s Adelphi in October.
Everyone ends up transformed in this show, which is why it brims with the feel-good factor.
With the sad implosion of summer over this recent bank holiday, this vibrant staging of Noel Coward’s Hay Fever, with its scenario of being trapped in a country property with a demented family, couldn’t have been better timed.
Fire destroyed the first Globe Theatre in 1613.
Given that The Boy Who Climbed Out of His Face is an immersive experience and, as such, contains many elements of surprise, it is a challenge to articulate an opinion while maintaining the sense of mystery.
Following previous renditions of this successful parody series, including last year’s critically acclaimed Ha Ha Holmes!, Ha Ha Hood and The Prince of Leaves provides a welcome escape from reality.
Nabokov’s 1955 masterpiece finds curious echoes in today’s mass media climate of stories of historical sex abuses.
The style and panache of Jo Swerling and Abe Burrows’s distillation of Damon Runyon’s classic story and characters, set to Frank Loesser’s tuneful but acerbically pointed songs, puts Guys and Dolls among the greatest of the musicals from Broadway’s golden age.
Since 2007, Secret Cinema has been blurring the line between film and theatre, creating immersive productions around classic movie screenings.
Given that - including intervals - the play in its entirety has a four-and-a-half-hour running time, it is astonishing how fresh and fast-paced it feels throughout.
A surprisingly sweet comedy about a sexually frustrated couple’s decision to engage in a threesome, Irish company Rough Magic’s Jezebel stimulates plenty of laughs but lacks the salacious bite its subject matter intimates.
After the critical success of last year’s Invincible at the Orange Tree Theatre and later the St James, Torben Betts’ 2012 hit is given a welcome revival at the fringe venue that showcased some of his early writing.
A burst of spontaneous applause ten minutes into Act II speaks volumes for audience engagement, as fearful, humiliated genius Chadwick Meade (Rory Corcoran) rounds on his tormentors with his devastating, existentialist intellect.