Alexander Cohen - Page 12

Alarm bells ring when a director stars in the play they are also directing. Even if that director is Sir Kenneth Branagh. Nine times out of ten the production falls flat and the audience are left wondering if ego is to blame. Branagh’s hotly anticipated stab at King Lear is, sadly, no exception.

A play about the limits of language ought to easily translate into a ballet. Words naturally count for less and speech is no longer the primary means of communicating emotions. But does Sam Steiner’s indie darling Lemons Lemons Lemons Lemons Lemons make the leap into dance?

Despite it's effervescent cast, this a sparky update of Frisch's classic fails to ignite.

In amongst a crowded genre Lynn Nottage’s 2021 Clyde’s, making its European premiere at the cosy Donmar Theatre, stands out by doing what theatre does best. Stirring the soul with heart wrenching intimacy.

There’s no escape from the parasites. A bedbug invasion looms in London and there is a flea at Hackney’s Yard Theatre. I’m talking more specifically about The Flea, James Fritz’s new coked-up joyride of a satire which not so much pokes fun at, but hacks and slashes hierarchical English society to shreds.

Produced by Access All Areas, a theatre company led by disabled and autistic performers, Imposter 22 thrusts questions about disability centre stage. It’s exuberant, bombastic, and undeniably well-intentioned, but good intentions are not enough to make good theatre.

George Benjamin's slick new opera plays at the Royal Opera House after a critically acclaimed run at Festival d'Aix-en-Provence

The latest part of the the Death of England tetralogy is theatre at its most courageous

Deftly balances psychological thrill with morality as murky as the North Sea

A cerebral thriller that puts its humanity front and centre, anthropology is a strong start to Hampstead's new season

Nobody can deny the humanitarian force of what unfolds on stage even if the artistry doesn’t hit the mark.

Given his political radicalism and fervent romanticism, it is more than fair to wonder if Richard Wagner would be partial to Just Stop Oil. Sporting his iconic beret, would he, if he were around today, brandish banners and block cars on the M1? Barrie Kosky may think so. He thrusts Wagner’s ecological consciousness front and centre of his new production of Das Rheingold.

Will the Fringe hit land on its feet as it transfers to London's Soho Theatre?

BroadwayWorld caught up with Sam Yates as he prepared to take the show to the West End to discuss the enduring appeal of Chekhov, having to rethink his method of directing and the joy of reuniting with Andrew Scott.

Lauren Gunderson asks pressing questions about AI in her new sci-fi thriller

An interesting story sapped of its weight by gimmicks over eager to impress

A nostalgia-lined love letter to navigating the trials and tribulations of growing up closeted, it is difficult to escape the charm that Dumbledore is so Gay casts on its audience, even if it is a little podgy in places.

The Arc keeps an eye on the past but it’s focus is firmly on the future. Consisting of three plays Birth, Marriage, Death, Emanate Theatre Company’s second production is not one weighed down by existential meanderings or heavy questions. Levity in the face of uncertainty is its greatest strength.

Unearthed after decades, could this new production of two once lost plays be more than a museum piece?

Paapa Essiedu and Taylor Russell mesmerise in Prebble's fascinating yet flawed play