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.
In recent years, the Orange Tree may have acquired a reputation for decorously produced relics of Victorian and Edwardian theatre watched by an ageing audience inclined to nod off; not any more.
Birmingham Stage Company’s partnership with Terry Deary continues with another of the Horrible Histories series.
To coincide with the 25th anniversary of the fall of the Berlin wall, the North Carolina-based theatre company Burning Coal undertake the mammoth task of mounting David Edgar’s Iron Curtain trilogy.
It may start as a weirdly cultish game of follow my leader, but this piece for four to seven year olds ends on such an endorphin rush that the whole family emerges grinning inanely.
Norris Church Mailer was Norman Mailer’s sixth and last wife, the Catherine Parr to his Henry VIII, the one who would outlive him.
A play about aid workers running a Middle Eastern refugee camp runs the risk of being terribly worthy, but, despite Warehouse of Dreams being frequently educational in tone, a charming cast prevents it from teetering into preachiness.