Martha Plimpton On “Sweat”: “In Rehearsals, I Would Nauseate Myself”
“I’m a white heterosexual woman with a fair amount of good fortune and–as the saying...
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London
Ellie Kendrick’s “Hole” at The Royal Court
Actor Ellie Kendrick is a familiar face on television, but it’s as a writer that she reveals the...
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Global Queer Plays: A Q & A With Jeremy Tiang And Danish Sheikh
Global Queer Plays, published December 10, is a unique anthology bringing together stories of...
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“Magic Mike Live,” London Hippodrome, Review: “A Frenzy Of Hallucinogenic Mansplaining, Fatman Scoop, And Abs”
As the speakers blasted out Ed Sheeran’s Thinking Out Loud and topless men crept out of the...
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Theatre Review: Xameleon Theatre Presents “A Dog’s Heart”–”A Brilliantly Clever Production”
In a memorable production, Xameleon Theatre recently brought Mikhail Bulgakov’s complex novel A...
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Anthony Neilson’s “The Tell-Tale Heart” At The National Theatre: Edgar Allan Poe’s Gothic Chiller
Can you really turn a three-page short story into a full-length play? What would you add, and how...
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“The Wider Earth” at The Natural History Museum: Adapt, or die!
Less is more. When it comes to theatre-making, there is hardly a more relevant maxim than this...
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“Hadestown,” National Theatre, Review: Folk Opera That Dazzles Despite Its Imperfections
When the lights go out for the interval midway through Hadestown, I’m already making a mental list...
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“Hadestown,” The Cult Album That Went To Broadway: “Hades Isn’t Based On Trump–But Trump Might Be Based On Hades”
Hadestown, a reworking of the Orpheus and Eurydice myth by American singer-songwriter Anais...
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“The Hoes” at The Hampstead Theatre
Because of the #MeToo movement, and the revival of feminist protest, the theme of sisterhood now...
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Don DeLillo’s “Love-Lies-Bleeding” At The Coronet Theatre
Plays about old age are also often plays about death. This is certainly true of American novelist...
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Examining Gender Issues Through An Ancient Myth: 27 Degrees’ “Medusa” At Crypt Gallery
In Greek and Roman mythology, Medusa the Gorgon is a hideous, monstrous woman with snakes in place...
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A Tragedy With A Happy Ending: “The Emperor And The Concubine” By The China National Peking Opera Company At London’s Sadler’s Wells
The long-term collaboration between the China National Peking Opera Company (Guojia jingju yuan)...
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Nick Stafford’s “War Horse” At The National Theatre
In the days after the widespread commemorations of the 100th anniversary of the end of the first...
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“A Pupil” At Park Theatre
How do you judge artistic excellence? Is there such a thing as an objectively brilliant musician,...
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Zadie Smith’s “White Teeth” at The Kiln Theatre
You can see why artistic director Indhu Rubasingham chose to stage this version of Zadie Smith’s...
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Peking Opera At The British Library: The Triumph Of Xieyi
As part of the China Focus Events Series, the British Library, in collaboration with Sinolink...
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Luke Barnes’s “All We Ever Wanted Was Everything” At The Bush Theatre
Sometimes, just sometimes, I see a show which makes me wish that all theatre could be like this. A...
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It’s Ella Hickson’s Moment (Of Honesty)
How her truth split critics and why she doesn’t really care Ella Hickson stopped worrying...
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“Company” Review, Gielgud Theatre: “You Can’t Imagine It Being Staged Any Other Way Again”
This is a game-changer. “Radical update” is a phrase that is all too often bandied about in...
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