Speaking from Outside: Interview with Olga Voronkova
Olga Voronkova is a London-based, Belarusian video editor, scriptwriter, copywriter, and producer...
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United Kingdom
Matilda Feyiṣayọ Ibini’s “Sleepova” at the Bush Theatre: Rather Predictable, but Fun Show about Coming of Age
Is anyone still nostalgic about their teen years? The coming-of-age drama is a staple of...
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“Trouble In Butetown” at the Donmar Warehouse
With the fast-approaching anniversary of the latest war in Europe, our culture’s continued...
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“Much Ado About Nothing:” National Youth Theatre Gives Shakespeare the Love Island Treatment
“What’s your type on paper?” is frequently asked by contestants on the popular reality dating...
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Laura Horton’s “Breathless” at the Soho Theatre: Slender but Heartfelt Account of Hoarding
The female monologue is a well-established contemporary theatre form, but often the content is...
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“Phaedra” at The National Theatre
How can old texts speak to us now? The point is not just to adapt classics, but to reimagine them...
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Willy Hudson’s “Welcome Home” at the Soho Theatre: Messy Queer Sci-Fi Show
Willy Hudson is a writer and performer from Exeter — his Willy Hudson Ltd theatre company...
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How British Theatre Censorship Laws Have Inadvertently Created A Rich Archive Of Black History
In an age of so-called “cancel culture” it’s important to remember that for much of British...
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“Sound Of The Underground,” Royal Court
Ever been to a queer club? You know, drag cabaret night at Madame Jojo’s, or the Black Cap or Her...
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How British Theatre Censorship Laws Have Inadvertently Created a Rich Archive of Black History
In an age of so-called “cancel culture” it’s important to remember that for much of British...
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A Director’s Reflection: “Crimea 5 am” at The Kiln Theatre
Before the war, in what now feels like another lifetime but in reality is just over a year ago, I...
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“Three Sisters,” National Theatre
Earlier in the week, I enjoyed a rainy afternoon at home by watching Inua Ellis’s 2019 adaptation...
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Art, Dance, and Film of Ingrid Nachstern and Cate McNider
It was a chance meeting at MoMA’s dance series “Some sweet day” that brought Ingrid Nachstern and...
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“Sons Of The Prophet,” Hampstead Theatre
Pain is, at one and the same time, something to avoid, and also something you can use. Kahlil...
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“Kerry Jackson,” National Theatre
Is British new writing in deep trouble? With the Arts Council defunding venues such as the...
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“Baghdaddy” at the Royal Court
What is the best way of talking about the Middle East? Should plays take a documentary or verbatim...
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Julia Pascal’s 12:37 at the Finborough Theatre: epic story of Jewish identity from Dublin to Jerusalem
Julia Pascal is a resourceful theatre-maker who is unafraid of being controversial. Her interest...
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James Graham’s “Best of Enemies” at the Noël Coward Theatre
TV is a strange medium, but James Graham is no stranger to its toxic charm. London audiences have...
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Women and War: a Staged Reading of Two New Plays From Ukrainian Playwrights
Earlier this year in the Polish theatre journal Didaskalia (169/170, 2022), a pair of Ukrainian...
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Joe White’s “Blackout Songs” at Hampstead Theatre: Powerful Account of Mutual Dependency on Drink
Joe White is great at staging fraught emotions. His Mayfly in 2018 vividly showed a family whose...
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