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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London
“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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“The Poltergeist,” Arcola Theatre
Last night, at the Arcola, I witnessed the return of The Poltergeist, Philip Ridley’s blazing...
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“Super High Resolution,” SOHO Theater
Every day there is bad news about the NHS — junior doctors are exhausted, nurses need food banks...
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Sudha Bhuchar’s Evening Conversations at the Soho Theatre: A Calmly Intelligent Exploration of Family Identity
Sudha Bhuchar’s Evening Conversations at the Soho Theatre: a calmly intelligent exploration of family identity
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“Ravenscourt,” Hampstead Theatre
Therapy is inherently dramatic. After all, it’s all about character — and it has the aim of...
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Aaron Kilercioglu and Bilal Hasna’s “For A Palestinian” at Camden People’s Theatre: Emotionally Intense Exploration of Identity
Identity is the sum of the stories we tell ourselves. Some of these are personal, and some...
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“Who Killed My Father,” Young Vic
‘If this were a text for the theatre, here is how it would begin’ – these are the opening words of...
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“Chasing Hares” at the Young Vic
While Britain is experiencing a “summer of discontent”, with inflation, strikes and other...
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“The Fellowship,” Hampstead Theatre
I live in Brixton, south London. A few days ago, the borough’s aptly named Windrush Square hosted...
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Welcome to the Slug Parade: Representation of Asexuality and Autism in “The Slug Show”
As London celebratess the 50th anniversary of the Pride Parade on July 2, I’m reminded of the only...
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“Lotus Beauty,” Hampstead Theatre
Theatre is slowly recovering from the effects of the pandemic, and many shows which were canceled...
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“House of Ife,” Bush Theatre
In the past, most plays by black-British writers have been about the legacy of the Windrush...
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“The Burnt City,” One Cartridge Place
Punchdrunk theatre, the eponymous progenitors of “immersive theatre,” have been wowing...
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