Review: 4.48 PSYCHOSIS, Royal Ballet & Opera
by Franco Milazzo - Oct 18, 2026
The idea that “art is not a mirror but a hammer” has been attributed to Bertolt Brecht, deployed by Leon Trotsky and could serve as the epitaph for Sarah Kane’s repertoire, not least her final work.
Review: ANGEL'S BONE, London Coliseum
by Franco Milazzo - Oct 18, 2026
Whether intentionally or not, London’s opera houses have leaned hard into the Halloween season with an unspoken theme of “go bleak or go home”. Over in Covent Garden, there’s a revival of Philip Venables’s 4.48 Psychosis (adapted from Sarah Kane’s final play, completed shortly before she took her life aged just 28). The English National Opera, meanwhile, has plumped for something even darker.
Review: MAN TO MAN, Starring Tilda Swinton, Royal Court
by Franco Milazzo - Sep 13, 2026
Those worrying that Tilda Swinton — the patron saint of Sunday afternoon arthouse movies and performance art best experienced through reviews — has gone mainstream should make themselves a cup of chamomile tea and relax. There are likely very few famous actors (never mind Oscar winners) queuing up to spend their night daubed in white paint and standing alone for 80 minutes dressed in little more than a string vest and giant red y-fronts. There are, though, plenty of people eager to watch la Swinton: the London run has already sold out ahead of press night before, like a rock tour, the play heads to Edinburgh, Berlin and New York.
Review: CLEANSED, Almeida
by Alexander Cohen - Jul 30, 2026
Few plays unite cast and audience in mutual struggle like Sarah Kane's Cleansed. Many consider it unstageable: stage directions demand a tongue be cut out, rats carry off severed limbs, and a lot of blood. The last London production in 2016 saw audience members throwing up and fainting in the stalls.
REVIEW: The Festival d'Avignon Presents TRILOGIA CADELA FORÇA By Carolina Bianchi and Cara de Cavalo
by Wesley Doucette - Jul 16, 2026
Contrary to the place critics occupy in the cultural imagination, I dread the prospect of an artist reading a negative review I have written. I stand by my perceptions of the works I review, yet I also hold to Anton Ego's maxim in Pixar's Ratatouille: 'In the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so.'
Full Cast Set For CLEANSED at the Almeida Theatre
by Stephi Wild - Apr 21, 2026
The Almeida Theatre announced the full cast for CLEANSED, Sarah Kane's play directed by Olivier Award-winner Rebecca Frecknall, featuring Leo Bill, Pearl Chanda, and others. The production runs in London this summer.
Royal Ballet and Opera Reveals 2026/27 Season
by Stephi Wild - Apr 14, 2026
Royal Ballet and Opera announced its 2026/27 Season, featuring 10 new opera productions including PARSIFAL, GÖTTERDÄMMERUNG, and LA GIOCONDA, plus ballet masterworks and Wayne McGregor's 20th anniversary. Tickets go on sale June 24, 2026.
REVIEW: Oynak Kumpanya Presents Phaedra’nın Aşkı
by Wesley Doucette - Feb 23, 2026
Phaedra is a difficult tragedy to stage with a straight face. Given the stakes, her desire for her stepson Hippolytus can easily tip into the absurd. This is not a youthful Romeo and Juliet infatuation.
Critics’ Choice: Franco Milazzo's Best Theatre Of 2025
by Franco Milazzo - Dec 30, 2025
Looking back over 2025, it appears I sat in a dark room and wrote barely legible thoughts into a notebook on about 150-odd occasions. By the grace of God and the BroadwayWorld UK editor, I saw a real smörgåsbord of delights, everything from highly anticipated West End theatre to opera, dance, circus, cabaret, comedy and immersive theatre.
BWW Q&A: Brendan Healy Talks A DOLL'S HOUSE at Canadian Stage
by Joshua Wright - Dec 16, 2025
BroadwayWorld spoke with Brendan Healy about Canadian Stage's production of A Doll's House. Nora appears to be the perfect wife, but beneath the surface she harbours a secret that threatens to unravel her seemingly happy world. As the truth emerges, Nora gradually awakens to her own desires, and the play builds toward a radical act of self-liberation.
What Is Absurdist Theatre? Inside the Movement that Changed Modern Drama
by Sidney Paterra - Oct 18, 2025
This fall, Samuel Beckett’s Waiting for Godot is once again drawing audiences to Broadway, with its enigmatic blend of humor, hopelessness, and haunting stillness. It’s a timely reminder of how profoundly absurdist theatre reshaped the modern stage—inviting audiences to laugh at the meaningless, search for significance in repetition, and confront the unsettling question at the heart of human existence: Why are we here at all?
GOD IS DEAD Comes to Theatro Technis in London
by Stephi Wild - Oct 14, 2025
Noctis Theatre Company will present their new play God Is Dead, written and directed by Matthias Moret and Fanny Le Pironnec at Theatro Technis in Camden, as part of the Voilà Festival 2025.