David Mamet's Race is one of the key productions in this year's Assembly season of South African theatre, says Laura Barnett - but it lacks the pyrotechnics of the playwright at his best
Ganesh Versus the Third Reich, by the Australian company Back to Back Theatre, is a clever metatheatrical game, says Laura Barnett - but it loses sight of its story
Laura Barnett finds Olivia Poulet utterly convincing in Mark Ravenhill's Product - but the play's satire has lost some of its bite
The Russian company SounDrama Studio wows Laura Barnett with The War, a strange, powerful meditation on the psychological effects of the First World War
Laura Barnett finds Exhibit B, the South African director Brett Bailey's painful meditation on race and colonial history, both powerful and problematic
Men in the Cities by Chris Goode is a fractious, emotive exploration of what it means to be a man in Britain today, says Laura Barnett
Beatboxer Grace Savage, a 'freak' woman in a male-dominated scene, will be making some noise at Edinburgh to show women the power of sound Continue reading...
An innovative stage group is trying to break down the barriers between boffins and the rest of us Continue reading...
The Iranian playwright on being misunderstood and why he loves to tamper with the rules of theatre Continue reading...
Arcola, LondonThis tale of an Iraqi man's identity crisis in Britain is audacious but fails to ring entirely true Continue reading...
The former punk rocker on what he's planning for his one-man show at the Edinburgh fringe Continue reading...
Shakespeare's Globe, LondonDavid Eldridge's quickstep through the long war between Christianity and Islam veers from portentousness to pantomime Continue reading...
Royal Court, LondonChilling warning of virtual paedophilia in a dystopian future Continue reading...
The standup on leaving crowds bemused, his fear of hubris and why he had to stop playing squashTim Key has performed at the Latitude festival in Suffolk every July for the past five or six …
The activist-comedian on his new show about corporate spying and why his political work keeps him goingMark Thomas can remember exactly where he was when he began to think that a close frien…
Doon Street car park, LondonAn interesting, but ultimately not terribly gripping, look at the influence of computer gamingWhere do we draw the line between theatre and computer gaming? Is al…
The Birmingham-raised playwright explains why her new play is set on the city's number 11 bus routeAs sources of artistic inspiration go, Birmingham's number 11 bus has to be one of the most…
The sibling playwrights manage to keep family rivalry in check as they work on a new show"I'm bossy and grumpy," says Nina Raine, "and he's very sunny and adorably laid-back. …
It was the first juke-box musical, filled with highwaymen, thieves, jailers and trollops in bulging corsets I loved it when I was 10 and I still love it nowOn Saturday 24 April 1993, I was …
Quick-fire delivery and rapid character changes make Nick Payne's cerebral new work both brilliant and bewilderingWe need more playwrights like Nick Payne. He is that rare thing: a writer wh…
Syrian refugees tell their stories, both funny and horrific, to the aroma of frying onionsGiven the potential of theatre to appeal to at least four of the senses, it's surprising that more d…
Can fire-eaters and acrobats help people who are questioning their sexuality? Laura Barnett gets a sneak preview of a circus project that mixes confession, contortion and wobbly dessertIt's…
Director Ivo van Hove pulls Arthur Miller's play out of the tenements and into a black box to startling effectThe Belgian director Ivo van Hove has made his name with bold, experimental stag…
Will Attenborough is the latest in an illustrious line of young actors to have made their names in Julian Mitchell's 1981 playJulian Mitchell's play, first seen in 1981 as a career-making ve…
On being part of a living heritage of dance and why John Coltrane's music should be wallpaperDescribe your earliest memories of dancing.I was first introduced to dancing through the TV: I re…