Marina Carr’s award-winning play returns to London directed by Carrie Cracknell and starring Conversations with Friends starlet Alison Oliver (who trod the same boards earlier this year in Women, Beware the Devil).
Maggie O’Farrell’s novel Hamnet explores grief and loss through the lens of Elizabethan society, reimagining the family life of the most celebrated playwright in England.
Three boys meet at Chunkyz to gossip, swap stories, and grow up against the backdrop of a society that’s not made for Muslim men.
When toxic tradition clashes with inevitable progress, the very structure of the crème de la crème of higher education comes into question.
Seventeen projects and nearly four decades of artistic alliance have produced beloved classics like The Nightmare Before Christmas, Beetlejuice, Sleepy Hollow, and Edward Scissorhands.
Benjamin’s study of Victor’s mental health is exceptionally refreshing, but ends up feeling a tad apocryphal in the context, especially when considering the major changes to Shelley’s narrative.
Rachel Garnet’s new play is the chance to explore workers’ rights and mortality.
The verbatim script is thoroughly chilling.
The show is generally delightful, but one can’t shake the feeling that there’s so much more to explore.
Directed by Roy Alexander Weise, the project is structurally disruptive but ultimately too meandering and overlong.
There are vanity projects, and then there are Vanity Projects.
It’s tough humour, not always politically correct nor consistently hilarious.
The project has been a top hit in its native Austria since it opened in 2006, garnering a steady following across the world and subsequent runs in Asia and Europe.
At its core, Sorry We Didn’t Die at Sea is a tad too simplistic to make a proper splash.
Tyrell Williams’ tale of football, friendship, and societal shift has smashed records and garnered outstanding feedback across the board.
The main problem is that the characters tend to dwindle down to two-dimensional figurines.
It’s good fun, but the last half hour of the 90 interval-less minutes drags.
Its strength is obviously in its joyous and uncompromising queer nature.
Every member of the company brings their best to create an all-around remarkable performance.
Ultimately, it’s one of those shows that matter in an ephemeral way.
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