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Fantastic collaboration between Rachel Bagshaw and Chris Thorpe results in the really amazing show The Shape of Pain at Wilton’s Music Hall.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
Tom Hiddleston is back! And in excellent form in Jamie Lloyd’s revelatory revival of the 1978 Pinter classic Betrayal.
Return of Tom Ratcliffe’s play Circa about gay life in today’s Britain: but it’s better at generalisation than at being specific.
Tatty Hennessy’s debut play A Hundred Words for Snow is a female monologue about loss and polar exploration that retains its attractive brightness and sass.
Alys, Always, a adaptation of Harriet Lane’s psychological and satirical bestseller, is neither vital, nor convincing.
Christopher Haydon, the former artistic director of the Gate Theatre in London, has written the book About The Art of the Artistic Director.
Inside Bitch, a new show about representations of women’s prisons in the media, is quite good fun, but a bit pointless.
The final episode of Florian Zeller’s domestic trilogy, The Son, is powerfully, even melodramatically, effective.
There is a Field, a new play about two East End brothers is a strongly felt account of Islamism and addiction – cracking stuff.
Terrific revival of largely forgotten playwright James Saunders’ 1977 modern classic in an energetic and thrilling production.
David Suchet is majestically magnificent in this excellent revival of Arthur Miller’s 1968 family drama The Price.
Cougar, a new two-hander about an older woman and a younger man is a bit sketchy, but its theatre form is thrilling.
Superhoe at the Royal Court is a bright new monologue about coming of age in the Instagram era that really rocks its youthful socks.
Tom Wright’s My Dad’s Gap Year, a new play about gender fluidity and family love, has some good moments.
Martin Crimp’s new play, When We Have Sufficiently Tortured Each Other at the National Theatre, has been hyped because of its star, Cate Blanchett, and rightly so: it’s a five-star show.
Borderline Theatre is a laudable undertaking, but sadly Welcome to the UK at the Bunker Theatre is neither funny nor original.
Frantic Assembly’s latest, The Unreturning, is a moving meditation on war and masculinity, thanks to playwright Anna Jordan.