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Coupling the knotty legal dialectic of 12 Angry Men with the gut-wrenching emotional tug of United 93, Ferdinand von Schirach’s Terror makes
Meat Loaf has had one hell of a shelf life. Initially a barbarised Peter Pan musical project, then an operatic prog-rock album
Something happens just before the interval in US playwright Branden Jacobs-Jenkins’ Gloria that shocks, viscerally. Out of the blue and on a
The first fruit of Furnace, the Birmingham Rep’s community theatre initiative, was We’re Here Because We’re Here, the Somme centenary memorial that flooded locations
A country on the brink of a society-defining technological change, viciously divided between the rich and the poor, the town and the country,
Staged with captivating simplicity, David Greig and Noah and the Whale frontman Charlie Fink’s new musical two-hander Cover My Tracks is a blissful
Phil Davies’ Landmines is potent stuff, particularly in light of recent events. Produced here by the Bridge Theatre Company, the professional arm of the Brit
There’s a surplus of young talent on the West End stage at the moment. Dennis Kelly and Tim Minchin’s Matilda is still
A classic case of biting off more than one can chew: Fergus Morgan responds to the Time Out audience reviews of DC Moore's Common.
The post Review: Common at the National Theatre appeared f…
There’s a thrilling, thought-provoking play to be written about the vituperative vengeance of social media, but Chris England’s new comedy Twitstorm definitely isn’t
IOU’s Rear View takes you places. Literally. After a brief prologue in an impromptu life drawing class – relax, you don’t actually put
Emma Rice’s valedictory summer season at Shakespeare’s Globe started with a bang and is only getting louder. After Daniel Kramer’s raucous Romeo
If I could take the entire Parliamentary Labour Party to see Luke Wright’s new verse play, I would. The Bungay-based performance poet’s last
"One of the hardest things for boys to learn is that a teacher is human..." Fergus Morgan reviews Matt Parvin's play about the class clown and his former teacher.
The post Review: Jam at the…
Harry Potter meets Star Wars in London’s Old Vic’s new production of Woyzeck. Joe Murphy’s production has a script from Cursed Child
Issue-driven theatre: Fergus Morgan reviews Charlotte Josephine's play about internet porn.
The post Review: Blush at Soho Theatre appeared first on Exeunt Magazine.
An Octoroon is America’s Red Velvet. Sort of. Like Lolita Chakrabarti’s 2012 play, Branden Jacob-Jenkins’ OBIE award-winning 2014 work finds a black presence in
Everyday Epic, the theme for the 2017 Brighton Festival, fits Richard Nelson’s Gabriel trilogy like a glove. The three plays – Hungry,
Housing is on the agenda. After Sh!t Theatre’s Letters to Windsor House and Cardboard Citizens’ Home Truths comes Matt Hartley’s Deposit, a
The baby and the bath water and the whole, cast-iron bath: Fergus Morgan reviews a slightly overwrought production of Mark Weinman's debut play.
The post Review: Dyl at the Old Red Lion appe…
It’s ambitious, to stage Richard III in the Arcola Theatre’s intimate main space, but it’s also injudicious. Mehmet Ergan’s unimaginative production is caught be…
Combining the disorientating technological playfulness and self-exposing theatricality of Simon McBurney’s The Encounter with the stealthy psychological tension of The Woman in Blac…
Sam Shepard plays gnaw away at you. They tease you with cryptic clues, disintegrating storylines and restless, febrile characters. His 1985 play
There are no prizes for spotting the thinking behind the Donmar Warehouse’s staging of a fresh adaptation of Bertolt Brecht’s classic 1941
You would have to have been on a Valium-induced holiday to Antarctica not to have heard about Angels in America at the
Selling out its Sloane Square run in a day, breaking the Royal Court’s record for fastest-selling production, with a West End transfer already confirmed and
It’s 2017, and still not one Premier League footballer is openly gay. Eyeing this glaring anachronism, the Union Theatre has optimistically turned
We’re only in April, but at the Globe, the Summer of Love is already bursting into life. Artistic director Emma Rice’s last outdoor season kicks off
Chartres, August 1944. A teenage Nazi soldier and a French girl secretly meet on the eve of the American army’s triumphant arrival, spending one
The troubled past and traumatised future of Northern Ireland come face to face in David Ireland’s ferociously funny 2010 two-hander Everything Between
Combining the creeping high school horror of Jay Asher’s 13 Reasons Why, the stigma-skewering impishness of Bruce Norris’ Clybourne Park, and a delectably bleak, Fargo-esque …