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35,748 stories from The Guardian

The Glass Menagerie " fluid and radiant by Susannah Clapp

Duke of York's, London Kate O'Flynn is outstanding in John Tiffany's beautiful staging of Tennessee Williams's breakthrough play about a fragile girl and her gentleman callerIs there a bette…

SOURCE: The Guardian at 3:36am on February 12, 2017

Tanztheater Wuppertal Pina Bausch: Masurca Fogo " review by Luke Jennings

Sadler's Wells, LondonThe choreographer's piece inspired by Lisbon is sunny and seductive, but ultimately insubstantialIn 1997 the German choreographer Pina Bausch took the dancers of her co…

SOURCE: The Guardian at 3:36am on February 12, 2017

How Hollywood faux pas inspired Beau Brummell hit in West End by Vanessa Thorpe

Revival of play about the Regency dandy reminds its creator of its unusual birthAny promising career can falter when an unguarded remark goes down badly. For the Regency buck "Beau" Brummell…

SOURCE: The Guardian at 7:54pm on February 11, 2017

Does a silver spoon help you win a Bafta? The class gulf in British acting… by Vanessa Thorpe

Debate over bias towards actors from a privileged background persists as London rolls out the red carpetAt the Royal Albert Hall tonight, as glittering prizes are handed out in the annual Ba…

SOURCE: The Guardian at 7:54pm on February 11, 2017

Privilege is playing too great a role in the arts | Gloria De Piero and Tracy Brabin by Gloria De Piero and Tracy Brabin

The working-class actor is dying out, as the socially advantaged turn the clock back and leave our culture much the poorer"It's not enough being talented, these days you need cash." Steve Co…

SOURCE: The Guardian at 4:54pm on February 11, 2017

Tamsin Greig as Malvolia is good for equality, and for raising standards in our theatre | Susanna Rustin by Susanna Rustin

It is an error to see gender-blind casting solely in terms of female advancement. It also prompts the creation of better productionsThe Royal Shakespeare Company's latest production of The T…

SOURCE: The Guardian at 4:36am on February 11, 2017

The Voysey Inheritance, National, London by Michael Billington

National, LondonEvery 20 years or so we rediscover Harley Granville Barker's astonishing play. Following revivals at the Royal Court in 1965 and the National itself in 1989, we now have Pete…

SOURCE: The Guardian at 2:31am on February 11, 2017

My refund was a no show after The Lowry charged my card twice by Rebecca Smithers

I bought £79-worth of tickets for several ballets but something went wrong and I was also billed £87 for ones I didn't wantIn August I went to the box office at The Lowry in Salford Qu…

SOURCE: The Guardian at 2:31am on February 11, 2017

Fences " review by Michael Billington

Duchess, LondonLenny Henry has won his spurs as a Shakespearean actor in Othello and The Comedy of Errors. Now he takes on the titanic role of Troy Maxson in August Wilson's Fences which won…

SOURCE: The Guardian at 9:03pm on February 10, 2017

Tanztheater Wuppertal: Masurca Fogo review " a hot collage of anguish and joy by Judith Mackrell

Sadler's Wells, LondonIn Pina Bausch's impressionistic travelogue of Portugal and Brazil, the dancers confess intimate memories, put their bodies on parade and enjoy larky gamesIt's nearly e…

SOURCE: The Guardian at 12:03pm on February 10, 2017

I Told My Mum I Was Going on an RE Trip review " crucial show about teenage abortion by Lyn Gardner

Battersea Arts Centre, LondonThe latest production from 20 Stories High is a vivid, clever piece that fuses tough subject matter with wicked humour and moments of pungent emotionOne in three…

SOURCE: The Guardian at 12:03pm on February 10, 2017

Beware of Pity review " Simon McBurney astonishes with vision of a world on edge by Michael Billington

Barbican, London With dazzling virtuosity, this Complicite/Schaubühne staging of Stefan Zweig's novel brilliantly evokes a doomed romance and the imminent horror of warBalzac, about whom St…

SOURCE: The Guardian at 9:48am on February 10, 2017

Tom Stoppard's Guildenstern: a role worth waiting in the wings for by Edward Petherbridge

After years of playing minor characters, it was this eternal bit-parter who put me in the spotlightLaurence Olivier handed me the script in his office, saying: "Marvellous part, marvellous p…

SOURCE: The Guardian at 8:42am on February 10, 2017

Susan Calman: 'When I'm feeling down I watch clips of cats jumping on children' by Rachel Aroesti

The Glaswegian standup and Radio 4 regular on the things that make her laugh the mostBilly Connolly. I've never managed to see him live but when I was younger I had a tape of one of his gigs…

SOURCE: The Guardian at 8:42am on February 10, 2017

Richard III and Matthew Bourne: this week's best UK theatre and dance by Lyn Gardner and Judith Mackrell

From a full-blooded reimagination of Shakespeare to the best of a celebrated choreographer. Plus: Eurohouse, Joan, BU21 and more1 Richard IIIDavid Hare may be up in arms about the European i…

SOURCE: The Guardian at 6:31am on February 10, 2017

Tom Stoppard: Brexit is too big for the stage by Andrew Dickson

As Daniel Radcliffe appears in Rosencrantz and Guildenstern, Tom Stoppard remembers the dandy who wrote it 50 years ago, picks his favourite play " and reveals why he's less interested in da…

SOURCE: The Guardian at 6:31am on February 10, 2017

Whoopi Goldberg to Secret Cinema: top things to do in the UK this week by The Guide

From the actor's rarely seen character comedy to an immersive version of Moulin Rouge: your at-a-glance guide to the best in cultureWhoopi GoldbergA brilliant one-off: the award-winning acto…

SOURCE: The Guardian at 4:18am on February 10, 2017

Single Asian Female shakes up monocultural Australian theatre by Stephanie Convery

Playwright Michelle Law talks about her 'dark family comedy' and about her struggle to engage with a predominantly white theatre sceneTheatre in Australia is so white, says playwright Michel…

SOURCE: The Guardian at 12:03am on February 10, 2017

Beware of Pity review " world wars and refugee crises collide in blood-soaked horror by Andrew Haydon

Schaubühne, BerlinSimon McBurney's production, based on Stefan Zweig's 1938 novel, brings past and present together in a desperate vision of failed empire Related: Rereading: Beware of Pity…

SOURCE: The Guardian at 7:36pm on February 9, 2017

Escaped Alone review " Caryl Churchill's wry chit-chat cradles catastrophe by Michael Billington

Royal Court, LondonLinda Bassett, Kika Markham, June Watson and Deborah Findlay deliver pitch-perfect performances in Churchill's apocalyptic conversation piece Related: Here We Go review " …

SOURCE: The Guardian at 6:32pm on February 9, 2017

Letters: Alec McCowen obituary by Lalita Carlton-jones and Geoffrey Batten

Lalita Carlton-Jones writes: In 1982 the Mermaid theatre in London staged The Portage to San Cristobal of AH, adapted as a play by Christopher Hampton from a short story by George Steiner. I…

SOURCE: The Guardian at 1:06pm on February 9, 2017

Study reveals which moves can take you from disco disaster to dancing queen by Nicola Davis

Hip-swings, leg moves, arm waggles and staying on the beat are the best moves for women who want to be admired on the dance floor, say psychologists Disco divas looking to tear up the dance …

SOURCE: The Guardian at 9:48am on February 9, 2017

'No one's faced it down': Arinzé Kene on tackling the UK riots in Good Dog by Matt Trueman

He's played Sam Cooke, an EastEnders bad boy and a closeted footballer in The Pass. Now, Arinzé Kene has returned to writing plays " and to the violent summer of 2011 " with a searing accou…

SOURCE: The Guardian at 9:48am on February 9, 2017

Silver Lining review " witty lines can't save Sandi Toksvig's care-home comedy by Lyn Gardner

Rose theatre, KingstonToksvig's play has plenty of good gags but there's far too little characterisation, leaving an experienced ensemble treading waterSandi Toksvig's new comedy, set in a r…

SOURCE: The Guardian at 8:42am on February 9, 2017

Pygmalion review " Higgins the hipster bleeps Shaw into the 21st century by Alfred Hickling

West Yorkshire Playhouse, LeedsUpdated to a minimalist live/work space full of digital sound manipulation, Sam Pritchard's production plays on the pain of judging people by how they speakNot…

SOURCE: The Guardian at 8:42am on February 9, 2017
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