With its whitewashed walls and actors swanning around in linen suits, inevitably the Globe’s summer staging of Much Ado About Nothing will recall Kenneth Branagh’s Tuscany-set film version from 1993.
“It’s like vultures circling a carcass,” one character in Driftwood says of the uneasy situation in Trinidad a few years shy of independence.
On her deathbed, US playwright Joshua Harmon’s grandmother granted him permission to write a play about their family, on the condition that it be as “brutal and vitriolic” as possible.
Clad in pastel pyjamas and lounging on bunkbeds, two preteen girls discuss the repeated drugging and rape of Gisèle Pelicot.
Latest in the line of blockbuster Cole Porter musicals dominating the Barbican’s summer programming is High Society, following in the footsteps of Anything Goes and Kiss Me, Kate.
In early 1753, two men – a footman named William Critchard and a sailor named Richard Arnold – were arrested and executed for ‘buggery’ in the Bristol suburb of Redcliffe.
It’s become something of a cliché in climate change coverage that the crisis has emerged out of the sins of the older generation wrought upon the young, and that fixing it is something that parents owe their children.
The history of musical theatre was almost very different.
In another world, Jimmy Cliff’s ‘You Can Get It If You Really Want’ would have made a barnstorming musical theatre ‘I Want’ song.
Despite her relative unpopularity within her lifetime, Barbara Pym always excelled at plumbing the depths in the lives of desperately ordinary people.
Rosanna Vize’s set for the world premiere of Care is sterile, harshly lit and unromantic.
It’s clear before the curtain rises – before you’ve even set foot in the theatre – that The Guy Who Didn’t Like Musicals is about more than the sum of its parts.
In many ways, @sohoplace is the perfect venue for The Boy Who Harnessed The Wind: the intimate thrust staging is perfect for elaborate ensemble choreography and carousing the audience.
The Anti “Yogi” (heavy on the quotation marks) is one of those shows where the tagline tells you everything you need to know: “liberation, not Lululemon”.
Shakespeare veteran Dame Harriet Walter talks about the Bard in a reverent tone, but she doesn’t let him off the hook.
A few scenes into Emily Lim’s version of A Midsummer Night’s Dream, the Globe stage undergoes a transformation.
For a play ostensibly about wildlife photography, we don’t actually see too many photographs in Firewing.
Much like All My Sons, the virtuosic Arthur Miller tragedy revived in the West End earlier this year, Miller’s lesser-known 1967 play The Price holds a mirror up to the American Dream and finds people varying degrees of broken by their desire to succeed.
Virginia Woolf isn’t the easiest author to adapt for the stage, and her lesser-known 1931 experimental novel The Waves presents a particularly interesting dramaturgical challenge.
The set for This Is Not About Me initially resembles the bottom of a particularly untidy knitting drawer: strewn with red thread and abandoned crochet projects.
