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Shobana Jeyasingh Dance Presents CLORINDA AGONISTES (CLORINDA THE WARRIOR) in July

Choreographer Shobana Jeyasingh's latest work is an inventive hybrid of opera, dance and video projections inspired by Monteverdi's ground-breaking 1624 operatic cantata, Il combattimento di Clorinda e Tancredi. In two acts, it is a bold new telling of a story which explores violence, resilience and revelation across cultures and times.

BWW Review: COCK, Ambassadors Theatre

It's 13 years since Mike Bartlett's provocatively named play made its debut at the Royal Court. Now, Marianne Elliott assembles a starry cast for this West End revival. But how has Bartlett's exploration of sexuality and identity aged, and does it earn its place in the current theatre landscape?

BWW Review: UNDER MILK WOOD, National Theatre

“To begin at the beginning”, Welsh poet Dylan Thomas never got to fulfil his true dream for his troubled radio play Under Milk Wood. It took 20 years of laborious work to put the final touches on the personalities of fictional Llareggub. Alcohol poisoning might have taken Thomas’s life before he heard his drinking - and acting - mate Richard Burton’s take on BBC Radio in 1954, a year after his sudden demise.

Photo Flash: First Look at the National's TOP GIRLS

Marlene is the first woman to head the Top Girls employment agency. But she has no plans to stop there. With Maggie in at Number 10 and a spirit of optimism consuming the country, Marlene knows that the future belongs to women like her.

BWW Review: CONTAGION, British Library

The British Library isn't the most obvious place to stage a dance installation but in the case of choreographer Shobana Jeyasingh's Contagion, (which has toured to other non-theatre spaces around the country) the mezzanine floor of the main auditorium of the library takes on the ambience of a dedicated and exactly the right performance space.

BWW Review: A Brand New Look for AN ENEMY OF THE PEOPLE at the Guthrie Theater

The plot of AN ENEMY OF THE PEOPLE seems ripped from today's headlines: think Flint, think Detroit. Of course, Norwegian Henrik Ibsen (an iconoclast in his day, generally regarded as "The Father of Social Realism" in western theater history) penned this prescient piece back in 1882. What the Guthrie is producing is a new adaptation by Brad Birch, first staged in 2016 in Wales. It's undergone further revision for this production. Birch's adaptation is most welcome. The familiar story is lifted up to a whole new level by the striking visuals and swift, intriguing transitions devised by director Lyndsey Turner and her design team.

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