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Miss Julie is always being performed somewhere, in one form or another. Strindberg’s classic 1888 tale of a fatal love affair between
So far, the two Nicks’ flexible Bridge Theatre has hosted a proscenium-arch farce, an immersive Shakespeare, and a thrust-stage Barney Norris play.
Orlando Bloom hasn’t had the most conventional career. He bagged the life-changing role of Legolas in Lord of the Rings two days
Cormac’s got the full house: HIV, hepatitis, syphilis, herpes, gonorrhoea. Bingo. And he’s not dealing with it very well. Alan Flanagan’s likeable
How did John Doe die? He fell from the landing gear of a Boeing airliner as it made its final descent into
Lars Noren is considered one of Sweden’s greatest living playwrights, but he’s relatively unfamiliar to UK audiences. Surprising, really, because his work
Pulse is an important event, one of a dwindling handful of regional festivals focussed firmly on early-career theatremakers and dedicated to nurturing
The West End doesn’t get much weirder than this. A bilingual staging of Moliere’s 1664 comedy Tartuffe, relocated to contemporary California, translated
Ex-English teacher and poet Caleb Femi has had a hell of a life. He spent his early childhood in Nigeria, followed his
Macbeth, Pinocchio, Saint George and the Dragon, Follies, Common, Salome, Twelfth Night, Amadeus – the recent roster of National Theatre shows in
Last week, the New Diorama announced a radical overhaul of its programming model, reducing the number of main house shows programmed each
A new chapter has begun at Shakespeare’s Globe after Emma Rice’s drawn-out and acrimonious departure. Her successor as artistic director Michelle Terry
Alice Driver and Alexander Gooch were two of the nine Ipswich Martyrs, a group of Suffolk Protestants burnt at the stake during
Mood Music sounds great. It’s directed by Roger Michell, a big-shot name in stage and screen who most recently took the reins
Forty years ago last Sunday, Bobby Robson’s Ipswich Town beat Arsenal 1-0 at Wembley to win the FA Cup, the sensational culmination
When Robert Schenkkan wrote Building the Wall in the autumn of 2016, it was probably a unsettling, insightful and important analysis of
What a time to be alive, if you’re an Abba fan (and who isn’t?). Not only have the Swedish pop legends announced
Fear in the 21st century: Frances Poet's Bruntwood-shortlisted play is astute and unsettling.
The post Review: Gut at the Traverse Theatre, Edinburgh appeared first on Exeunt Magazine.
Mike Bartlett’s Not Talking is built upon two convictions: that there are two sides to every story, and that it is always
Rodney Ackland’s The Pink Room was smashed to smithereens by critics when it premiered in 1952, effectively stopping Ackland’s successful playwriting career
Lauren Reed is showrunner of Second World War drama For King and Country, which allows its audience to decide the direction of
Matthew Lyon’s verse play Broken wears its influences on its sleeve. It embraces that swaggering, strutting Berkoffian vibe, spitting out its story
Baz Luhrmann’s Strictly Ballroom began life in 1984 as a short student play, devised by Luhrmann and his classmates at Sydney’s National
Ken Kesey’s One Flew Over he Cuckoo’s Nest was published in 1962. Milos Forman’s iconic movie, starring Jack Nicholson, was released in
Brace yourself – here comes the next mega-hit jukebox musical. Tina, which opened with a bang in the West End this week
Losing steam: Irish National Opera's first production runs out of ideas and invention.
The post Review: The Marriage of Figaro at the Gaiety Theatre, Dublin appeared first on Exeunt Magazine.
It’s back. After a six-year hiatus touring the provinces, Kander and Ebb’s classic 1975 musical returns to the West End, where it
Let's play: Chris Tarrant quizzes you on the West End transfer of James Graham's latest hit play.
The post Review: Quiz at the Noël Coward Theatre appeared first on Exeunt Magazine.
Just as the National’s extraordinary Angels in America hits the headlines on its Broadway transfer, London gets another epic, seven-hour, two-part play
Spoiler alert: something happens just before the interval in Bruce Graham’s White Guy on the Bus that twists it from a compelling
Cramming all 11 characters in Philip Ridley’s Moonfleece onto the small stage of the Pleasance’s second space is quite a challenge, but