Listening, Balance and Why It’s Everything: Talking Dramaturgy With Rosie Kellagher
A conversation about dramaturgy and New Writing with Rosie Kellagher, Literary Manager for the...
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United Kingdom
“Anatomy of a Suicide” at The Royal Court Theatre
Dorothy Parker’s take on suicide is called “Resumé”: it goes, “Razors pain you; Rivers are damp;...
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“Punts” Brings Up Questions Of Disability, Sexual Consent, And Parental Control
London fringe theatre is underfunded and under-resourced, but it often produces work that is more...
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Taking a Ride on a “Red Bike”
Against the roar of asphalt and a set of wheels, a child looks out onto the horizon and tries to...
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How Far Should We Go When Depicting Violence on Stage?
Last year, London audiences have been horrified by the violence shown on stage in the National...
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“Common:” Difficult To Follow And Nihilistic At The Wrong Time
History is a tricky harlot. She is bought and sold, fought for and thrown over, seduced and...
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Dharma Drama: Peter Brook’s “Battlefield”
“An enemy is someone whose story you have not yet heard,” advised my dear friend Rabbi Arthur...
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Erich Maria Remarque’s “Three Comrades” (“Drei Kameraden”) by the Sovremennik Theatre
This new tour of the Sovremennik Theatre in London also meant the premiere of Erich Maria...
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Defying “Romeo And Juliet” at The Shakespeare’s Globe
In “Romeo and Juliet” directed by Daniel Kramer, love, desire and violence are layered on top of each other, and with bold visuals and a daring interpretation, the classic releases its full power to examine violence and what can save us from it.
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A Portrait of Generation Rent in Hampstead Theatre’s “Deposit”
In this general election, the intergenerational conflict between youth and old age is never far...
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“Alice’s Adventures Underground”: New Immersive Limits Down the Rabbit Hole
“Drink me” or “Eat me.” Like Neo, in The Matrix, you are presented with a simple dichotomy that...
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Paul Mason’s Revolutionary New Play, “Why It’s Kicking Off Everywhere”
Paul Mason has been expanding his portfolio of late. The former economics editor of Channel 4 News...
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New Adaptation of “Woyzeck” at Old Vic
Welcome back, John Boyega. Less than a decade ago, he was an unknown budding British stage actor,...
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Hidden Door: The Festival Turning Edinburgh’s Forgotten Spaces Into Creative Hubs
For 28 years, Edinburgh’s Leith Theatre was left derelict and decaying. Now, it’s being brought...
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Lucy McCormick’s “Triple Threat” Is The Nativity Reimagined, With LGBT Club Culture, Vibrators, And Lady Gaga
Most of us have begrudgingly sat through a nativity play; feigned interest as a nephew plays...
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Mikhail Baryshnikov’s One-Man Show Showcases Joseph Brodsky’s Poetry And Their Lifelong Friendship
Throughout their 22-year friendship, Mikhail Baryshnikov and Joseph Brodsky loved nothing more...
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Sex, Masturbation, And Dementia: A Review Of David Baddiel’s “My Family: Not The Sitcom”
“The question is,” says David Baddiel a short while into the second half of his one-man show about...
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Sex, Death, and Gender Fluidity in Wilde’s “Salomé” at Royal Shakespeare Company
Salomé: one of the most dangerously seductive female figures ever, often considered the original...
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“Salomé” at the National Theatre
Is God female? It says a lot about Yaël Farber’s pompous and overblown new version of this...
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Jez Butterworth’s “The Ferryman” at Royal Court Theatre
I hate the kind of hype that sells out a new play within minutes of tickets becoming available....
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