“Bubble” is Digital Performance for the Political Viewer
It’s only been a week since London’s West End went dark and theatres closed all over the UK, but...
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United Kingdom
Family and Community and Isolation in “The Croft”
With everyone in lockdown, observing physical if not social distancing, a story about isolation...
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“The Claim” at The Shoreditch Town Hall
Your story. Our story. Their story. Just imagine: you’re a political refugee, and, having...
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Simon Stephens’ “Maria:” Aggressive Optimism is Saving the World
“The theatre is a device for empathy – its job is to create better people.” Those are the words of...
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With “Ghalia’s Miles” Zoukak Dissects the Middle East Layer by Layer
Ghalia’s Miles brilliantly brings the crude harsh reality of the Middle East to life. It pierces...
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“The Special Relationship” at Soho Theatre
Since 2000, Esther Baker’s Synergy Theatre Project has worked with prisoners, ex-offenders and...
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E.V. Crowe’s “Shoe Lady” at the Royal Court
“Would you rather have one shoe or no shoes?” Viv is here to show us that missing only one shoe is...
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Gerald Moon’s “Corpse!” at the Park Theatre: Comedy Thriller In A Tight Spot
The idea of the perfect murder is a genre standard. The fantasy that you are so intellectually...
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Writer and Performer Sophie Woolley on Becoming a ‘Deaf Cyborg’ and Her New Solo Show “Augmented”
Natasha Sutton-Williams interviews Sophie Woolley about her play Augmented – a personal story...
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“United Queendom”: When Immersive Theatre Meets Historical Reenactment Tour
United Queendom shines with potential. The location itself offers the thrill of being after hours in a royal palace, the expectations of whispers and court intrigue. Queen Caroline and Henrietta Howard bring a captivating tale and Les Enfants Terribles have a relevant lens to approach it and a bold aesthetic to make a memorable event. But I wished I had been part more of an immersive show than of a historical tour.
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Sally Abbott’s “I Think We Are Alone” at Theatre Royal Stratford East: Coolly Controlled Study of Loneliness
Once radical theatre companies are increasingly celebrating anniversaries, as if to say, hey,...
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An Interview with British Theatre-Maker and Comedian Jess Thom Co-Founder of Touretteshero
Touretteshero teams up with Battersea Arts Centre to make South London’s premier theatre space the...
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Churchill’s “Far Away” at The Donmar Warehouse
Caryl Churchill, Britain’s best living playwright, is enjoying a spate of high-profile revivals of...
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Tim Cowbury’s “The Claim” at Shoreditch Town Hall: Quietly Satirical Account of Political Asylum
Your story. Our story. Their story. Just imagine: you’re a political refugee, and, having...
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“Albion” Returns to The Almeida, but Falls Short of Its Political Aspirations
There is nothing wrong with Albion. But the fact that the play is now ‘returning’ to the Almeida...
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Antoinette Nwandu’s “Pass Over” at the Kiln Theatre
Antoinette Nwandu’s play Pass Over is a palimpsest. Its outer surface looks familiar: haunted by...
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Caryl Churchill’s “A Number” at the Bridge Theatre: Family Drama About Genetic Manipulation
Genetic engineering is in the news again. This follows the resignation of Andrew Sabisky as...
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Tony Kushner’s “The Visit” at the National Theatre
Now that’s what I call a star turn. Hitting the brakes on an express train, Lesley Manville lands...
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Williams and Dyer’s “Death of England,” National Theatre
Is this an angry island? Although the British national character (if there is such a thing) has...
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“The Welkin” at The National Theatre
History plays should perform a delicate balancing act: they have to tell us something worth...
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