Camilla Greenwell News

First staged last year at Theatre Royal Bath, Gary Oldman directs, set-designs, co-produces and performs Samuel Beckett’s 1958 one-act play, Krapp's Last Tape at London's Royal Court, the theatre where the play made its UK debut back in 1958. But this production is no exercise in ego, but an emotionally involved and truly captivating performance.

Check out production photos for the UK transfer of John Proctor is the Villain by Kimberly Belflower, directed by Tony Award-winner Danya Taymor. The production is now playing at the Royal Court.

See what the critics are saying about the West End transfer of Kimberly Belflower’s John Proctor is the Villain, making its European premiere at The Royal Court Theatre in London. Read BroadwayWorld's Review Roundup here!

When John Proctor is the Villain opened on Broadway last year, it lit a fire. Kimberly Belflower’s response to Arthur Miller’s The Crucible is more than play, it’s a movement. After shaking things up overseas, the piece is taking on London now (in the same venue that saw the U.K. premiere of Miller’s chef d’oeuvre seven decades ago almost to the day!) with its full creative team in tow and a brand new cast.

All new rehearsal photos have been released for the UK transfer of one of the most anticipated shows of the year, the seven-time Tony Award-nominated, John Proctor is the Villain by Kimberly Belflower.

Previews have begun for WELCOME TO PEMFORT, a new play by Sarah Power and directed by Ed Madden, now playing at Soho Theatre through April 18. Check out photos of the show.

The Shitheads is the perfect example of the importance of the Royal Court to London’s present day new theatre scene. The debut play from poet Jack Nicholls, this is a show that swings big... and the result is unlike anything else currently playing in the city.

Featuring two of the most awkward sex scenes you'll ever see, this acerbic comedy is a merciless meditation on teenage fumblings.

The Royal Opera House’s Turandot has now been running so long it feels less like a revival and more like a listed structure. You don’t attend it so much as pass through it, like a familiar corridor or a particularly grand roundabout. With close to 300 performances under its belt and two runs in this calendar year alone, this production has become the most frequently staged opera in Europe, second only to Zeffirelli’s La Bohème at the Met in the global endurance league. If cockroaches ever start staging Puccini after the apocalypse, this is the version they’ll use.

Have you ever wished to have the same auditory experience as a deer? Or maybe a cow? Now you can. Katie Mitchell partners with playwright Nina Segal and sonic artist Melanie Wilson to explore the world from the eyes – or, more accurately, ears – of the titular animals. It’s a crude reproduction of a day in their lives that de-centres humans from its narrative altogether. Cow | Deer is entirely wordless, unique in its genre and unlike anything you’ll see on a main stage. The leaflets handed out before the start encourage the audience to close their eyes and relax while they listen to “moments of a summer day in England”. You could do that, but you’d be missing all the fun of seeing live foley artistry.

It's a long way from Santiago to the West End. Isabela Díaz explains how she did it and what the Jette Parker Programme means to its artists

Miss Myrtle’s garden is an oasis caught in the jaws of gentrification. As her mind starts to go, her grandson Rudy moves in with his “friend” and prods her for answers about their shared past. The generational gap is an abyss of doubt, but is that what’s making it hard for her grandson to be open about his life? Danny James King writes a sophisticated exploration of memory, grief, and identity, which, directed by Taio Lawson (the Bush Theatre’s incoming Artistic Director), becomes a touching, beautiful piece of theatre. King surrounds the stigma of dementia with lots of breathing space rooted in the unsaid, sweetening uncomfortable truths with surprising circumstantial humour. A finely tuned balance is set up: though frankly hilarious at times, the show bottles up that unbearable wave of sadness you get when you see an old person sitting by themselves.

Sadé and Kristina Alleyne, Co-Artistic Directors of the award-winning Alleyne Dance have been appointed as the next Guest Artistic Directors of National Youth Dance Company (NYDC) for 2025/26.

Super show that lightens a very dark subject (corecive control), but does not diminish it

Unlike the object it is named after, Container studiously avoids fripperies like classical forms and categorisation. With nods to immigration, social media, California fires and the ongoing deluge of news from every angle, this is a work that merrily crosses thematic boundaries like a jaywalker after a fun night out.

Established in 1976, the Olivier Awards celebrate the world-class status of London theatre, and are Britain’s most prestigious stage honours. Leading the way this year is Tom Scutt's Fiddler on the Roof which matches Hamilton's record-breaking 13 nominations, represented in every acting and creative category.

An animated revival of Adele Thomas’s 2023 production, Il Trovatore strays from realism and instead focuses on a symbolic reading of this dark and gritty opera. With macabre medieval costumes, eery effects and a brilliant cast, it’s an unnerving experience.

Crystal Pite’s deeply moving work has themes of safe passage, displacement, community and mortality. Light of Passage, taken as a whole work with the three sections together, builds into a cohesive whole on the theme of who we are, where we are going, and what we feel. Although there are moments of repetition and the occasional sense of the abstract, I did find that Light of Passage succeeds on an emotional level in reaching an audience, who cheered enthusiastically by the curtain call.

After Gandini Jugglers went all retro on us last year by bringing back their classic outing Smashed, the sine qua non of British circus return with a brand new show Heka.

A case of never being more than the sum of its parts, even if those parts have promise in themselves.