This Saturday night, a revival of Sir Tom Stoppard's A Separate Peace - his 1966 play, set in a nursing home - will be broadcast live, starring David Morrissey, Jenna Coleman, Denise Gough, Ed Stoppard, and Maggie Service; Sam Yates directs.
National Theatre Live makes its celebrated 2011 production available free for online platforms but, rather like Frankenstein's Creature itself, its reviving isn't without its issues.
A surfeit of exposition and shouty scenes detract from an important story that resonates to this day.
The Barn Theatre stream their Henry V right into your living room - why not watch it with your stay at home band of brothers?
Mike Bartlett's play has aged not a jot in its analysis of how one generation's freedoms constrains anothers.
Jan Ravens and Julia Watson excel in three of Alan Bennett's famous monologues, two of which pack a surprising punch, 30 years on.
Angel Theatre Company bring Beckett to Brockley and leave this first time viewer looking forward to more.
The Whip packs so much into its near three hour running time that its issues, anger and need to educate drowns its dramatic potential and we're left with something that fails to reach its considerable potential.
This show, by the company of ex-Principal dancer at The Royal Ballet, Carlos Acosta, gives the audience a mixed bill, as up close as the title suggests, with as much Cuba as you would find in a hand-rolled cigar.
Flights looks into the hearts of three men whose lives in rural Ireland are not working out as they once hoped.
In just 45 minutes, Caryl Churchill's Far Away walks a tightrope between tricksy surrealism and dystopian warning but stays upright due to its sheer theatricality.
monolog 3 presents a range of plays that explore life as it's lived today through the voices of single performers drawing on Chickenshed's uniquely inclusive approach to theatre.
Kate O'Flynn is in award-winning form as the baby who grows into a girl and then a woman before her life's span is through in Alistair McDowall's clattering monologue.
Roy Williams and Clint Dyer's one man play explores the complexities of white working class identity in a multicultural, post-Brexit England with verve and passion.
Antony McDonald's production of Gerald Barry's hurtling dash through Wonderland and behind the Looking Glass is a delight from start to finish - or it will be for some.
Persona transfers somewhat uneasily from screen to stage in Paul Schoolman's new adaptation, but retains its intellectual heft and eerily subversive quality.
This is an Vanya for 2020 that loses nothing in Conor McPherson's sublime update.
Daniel Ward's autobiographical tale, told as gig theatre, has plenty to say and says it well - we would be wise to listen.
This no frills Twelfth Night rattles through Shakey's comedy getting laughs along the way, but includes some artistic decisions that didn't quite land as clearly as they were, perhaps, intended to.
Jason Kravits brings his big voice and madcap improv skills to London's leading cabaret room and the result is just what January needs.
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