SWANSEA GRAND THEATRE

by Gary Naylor - March 27, 2026

Revival of 1935 play could have much relevance to today, but cannot find a route out of slow and dated writing...

by Michael Higgs - March 27, 2026

A new production by Natalie Abrahami and Michael Levine, The Turn of the Screw at the Royal Opera House haunts with eerie staging, finely judged performances, and Benjamin Britten’s still-chilling score....

by Franco Milazzo - March 26, 2026

When this Rigoletto first opened the Royal Opera House’s first full season after the long pandemic silence, it felt less like a return to normality and more like a statement of intent. To relaunch with Rigoletto, arguably Giuseppe Verdi’s bleakest work, was a bold, almost confrontational choice....

by Cindy Marcolina - March 27, 2026

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 M...

by Alexander Cohen - March 26, 2026

The high-water mark of 60s culture has been and gone, leaving a trail of detritus in which capricious rocker Maggie Frisby finds herself....

by Franco Milazzo - March 25, 2026

Set in the bustling medieval castle of Carcassone, Excurio’s The Last Stronghold drops us into the midst of political intrigue, a budding romance and a nightmarish encounter...

by Vikki Jane Vile - March 21, 2026

English National Ballet’s new Sadler’s Wells programme includes just two works. One, a UK premiere from the much admired Crystal Pite, responsible for Flight Pattern and Light of Passage....

by Aliya Al-Hassan - March 23, 2026

Last seen in London at the National Theatre nearly 25 years ago, Nicholas Wright's thoughtful and thought-provoking play, Vincent In Brixton, now has a well-deserved revival at the Orange Tree in a beautifully performed, intimate and multi-layered production, showcasing some formidable acting tale...

by Clementine Scott - March 20, 2026

In a staging device that feels made for the cavernous Wilton’s Music Hall, Bibi Simpson as convicted murderer Ruth Ellis addresses the audience with aristocratic authority, a tiny figure within an isolated prison cell. We are instantly drawn into her world, witnesses and voyeurs to her version of ...

by Cindy Marcolina - March 20, 2026

Politically involved art is crucial to the healthy functioning of a nation. Even when it’s of subpar quality, this type of outlet is vital. Mohammedally Hashemi’s play is most probably not ready to be staged quite yet. It means well and it has lots of big ideas, but it requires a complete overha...