Troilus and Cressida
There are some glimmers of directorial genius—Dunster triumphs when tackling the play’s sombre moments—but that, alone, is not enough to save the show.
Group authored publication covering theatre and the performing arts in London and beyond
There are some glimmers of directorial genius—Dunster triumphs when tackling the play’s sombre moments—but that, alone, is not enough to save the show.
As fringe musicals go, Fat Club is not groundbreaking, or terribly exciting, but there are enough funny moments to engage all but the most critical of theatregoers.
Mad Forest by Caryl Churchill is an epic and daring play; and in Caroline Steinbeis’ production the cast rises to the occasion with unbreakable energy and pinpoint focus.
This is Euripides without tears, a happy ending snatched from catastrophe, and the funniest Greek tragedy you’re likely to come across.
Can a Shakespearean play work without Shakespeare’s language? Pawel Szkotak proves so in his nightmarishly perverse adaptation of Macbeth.
In the final installment of her Adventures in Movement coverage, Diana Damian reviews It Happens…, TAT TAT TAT and May I….
Ten Pence Short, the company behind Hot Air asked its audience for feedback, find out what Matt Boothman had to say.
The Girlfriend Experience is the most honest, educational and unexpectedly life-affirming play I’ve seen in a very long time.
Benedetti asks us to rethink Sarah Kane’s writing one more time, so that maybe now, in light of our times, we can understand a different side of her.
What else could be more representative of this transatlantic project than Sam Mendes relocating Sicilia and Bohemia to England and the US in the 18th century?
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