“Lemons Lemons Lemons Lemons Lemons” Play – How Silence and Body Language Can Communicate as Much as Words
When we talk to each other, there’s what we say out loud, what we wish we could say, and what...
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United Kingdom
Bjørg Vik’s “The Journey To Venice” At the Finborough Theatre: Norwegian Memory Play Is Tender If Slight
Bjørg Vik’s The Journey to Venice at the Finborough Theatre: Norwegian memory play is tender if slight
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Speaking from Outside: Interview with Olga Voronkova
Olga Voronkova is a London-based, Belarusian video editor, scriptwriter, copywriter, and producer...
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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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