224 stories by "Maryam Philpott"
Mark Ravenhill's fascinating new play The Cane at the Royal Court Theatre examines the issues of culpability for small-scale endorsed acts of violence and the nature of justice.
The revival of Alan Bennett's 1991 classic The Madness of King George III at Nottingham Playhouse couldn't then be more relevant, a play that speaks to our interest in the people who govern …
At the Ambassadors, Joanna Murray-Smith's new play Switzerland arrives in the West End for the first time, putting Patricia Highsmith in the spotlight with an intriguing duologue about the n…
Now the National Theatre has a vibrant production of the musical Hadestown which premiered at the New York Theatre Workshop in 2016.
Marianne Elliott brings Company to the West End with a production that may well change the musical forever.
In a year of revelations about the abuse of power and sexual misconduct, the timing couldn't be better for Measure for Measure at the Donmar Warehouse, an intriguing tale of blackmail, moral…
James Graham's new show Sketching attempts a purer form of anthology, blending stories from eight competition winners to co-create a patchwork of London life.
Pinter Two is a complete change of tone from its companion collection, moving from social politics to more familiar Pinter territory, relationship politics.
By emphasising the common themes in Pinter One and the topicality of their subject matter, this a very strong start for the Pinter at the Pinter season.
After a genuinely exhilarating Julius Caesar at the Bridge Theatre a few months ago, Shakespeare's subsequent tale Antony and Cleopatra has arrived at the National starring Ralph Fiennes and…
With plenty of influences from across film, there's still a lot to take from Clare Barron's play, and as annual dance fever arrives in the UK once again and mingles with a year of female-led…
As Classic Spring's year-long Oscar Wilde season comes to a close, its timely to reflect on what it has achieved. Did the season really add anything to our perception of Oscar Wilde and his …
Screening Alan Bennett's Allelujah! on the big screen may well alter the viewer's perspective, placing it within the tradition of television and film drama that lends itself to the cliffhang…
There's little for the cast to improve because the faults in Aristocrats lie with Friel. This production draws-out all of the core themes but cannot overcome the play's reliance on heavy exp…
The return of Mark Rylance to The Globe main stage is the lynchpin of Michelle Terry’s first season as Artistic Director and luring her predecessor back to play Iago in a new version o…
Stand-out performances in any era are often only judged so in retrospect and modern theatre offers much that will be remembered. But once in a while, you know you're in the presence of great…
Patrick Marber's engaging production of Exit the King builds on the central strangeness of Ionesco's work, attempting to break down our ongoing battle with the idea of death and why no one w…
The Lehman Trilogy is a substantial achievement, a beautifully balanced depiction of the role of one family in a much wider history of America.
This version of The Lieutenant of Inishmore is an impressive technical accomplishment supported by very fine performances from the ensemble, that has plenty of layers to unpick.
Machinal is the type of production that only the Almeida seems able to produce, with an inventive vision that simultaneously draws you into the story while still keeping you at arm's length.
A hundred years since the birth of novelist Muriel Spark, her 1961 tale The Prime of Miss Jean Brodie has been adapted for the Donmar Warehouse by Blackbird playwright David Harrower and dir…
While Polly Stenham retains plenty of Strindberg's purpose, Julie doesn't go quite far enough in remoulding the political and psychological shape of its characters for the 21st century.
As Ireland moves into a new era, Brian Friel's play remains at the heart of debate " how can a country maintain its essence while embracing the modern world?
In an otherwise charming and chic production, it can only be a shame that Classic Spring didn't decide to take a risk with this interpretation of An Ideal Husband.
Michael Grandage's revival of Red may only be 90 minutes, but there is no sense of rush here, and instead the play " much like Mark Rothko's creations " is given room to breath, to slowly co…
