Nina Raine’s “Stories” at The National Theatre
In 2017, playwright Nina Raine’s Consent, an excellent National Theatre play about lawyers and...
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Review
Theatre Review: Xameleon Theatre’s “The Little Prince”–”A Play For Young And Old”
First published in 1943 in New York, the story of the little prince and his travels hasn’t lost...
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A New Take On “An Enemy Of The People” Fizzes With Contemporary Relevance
The fitness of Henrik Ibsen’s plays to address the political questions of our modern lives renews...
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debbie tucker green’s “ear for eye” At The Royal Court
Two countries; two histories. Being black in the US; being black in the UK. Compare and contrast....
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The Futility Of Mediated Communication: “Together” At Camden Underground
Exploring the common phenomenon of livestream communication in modern society, the performance...
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“Rags Parkland Sings The Songs Of The Future” – Sci-fi Folk Concert at Ars Nova
What forces in today’s society will retain their power three hundred years into the future?...
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Jonathan Kalb Interviews Himself On Daniel Fish’s “Oklahoma!”
Jonathan Kalb: So Jonathan, did you like the show? Jonathan Kalb: Can we come back to that,...
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An Intricate Rumination On The Partnership Between Music And Dance
Concert, By Colin Dunne, Dance Umbrella Festival 2018, London, Barbican The important thing about...
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In “Midsummer” The Mobile Unit Delivers a Joyous Celebration of Life and Shakespeare
Joe Papp would be proud had he lived to see what his Mobile Theater had become: a brimming, joyous sanctuary of inclusivity and plurality, of Shakespearean excellence armed with subtle and striking mindfulness, no longer a struggling caravan of the American theater’s earliest pioneers, but a rag-tag group of brilliant players all the same.
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Martin Crimp’s “Dealing With Clair” At The Orange Tree Theatre
On the morning when this stylish revival of Martin Crimp’s 1988 play opens, I wake up to the news...
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“I Call Myself Princess” Is A Gifted Conduit For Escalating Ancestors
After attending a rehearsal and speaking with playwright Jani Lauzon and director Marjorie...
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“The Barber Of Seville” at Boston Lyric Opera
Gioachino Rossini’s most famous opera, The Barber Of Seville, opened Friday night at the Cutler...
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Dianne Wiest’s Winnie In Madison Square Park
Nothing you do this week will likely be more worthwhile than spending 40-odd minutes with Dianne...
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Miguel Septién A Great Direction Of “Kiss Of The Spider Woman”: A Risky And Avant-Garde Proposal
Kiss Of The Spider Woman is splendidly directed by Miguel Septién, an excellent director who...
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Bryony Kimmings’ “I Am A Phoenix, Bitch”
On Friday, March 13, 2015, the Grand Hall at Battersea Arts Centre in South London went up in...
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Cheek by Jowl and The Pushkin Theatre’s “Measure for Measure”
Authority. Surveillance. Enforcement. Confession. These are the tools of the state brought to life...
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David Edgar’s “Trying It On” At The Royal Court
Playwright David Edgar is lucky. To begin with, he appreciates his luck in having been born in...
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“Frankenstein: How To Make A Monster” at Battersea Arts Centre
Part of the Phoenix Season at the newly re-opened Grand Hall at Battersea Arts Centre is also BAC...
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“Measure For Measure”: Shakespeare’s #MeToo Moment
Cheek by Jowl’s production of Shakespeare’s Measure For Measure, performed in Russian by actors...
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Martin McDonagh’s “A Very Very Very Dark Matter” At The Bridge Theatre
It’s all in the title, isn’t it? Martin McDonagh’s surreal new play comes with a warning that not...
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