Review: Salomé
Dramatically this is the most creative response I’ve seen live. Here, a director’s reach should exceed their grasp, or what’s a production for.
Genre: Feminist Theatre
Review: Abrasion
If high school health class had been this entertaining, I would have paid far more attention.
Review: The Years
This production reminds us it’s often the least theatrical, least tractable works that break boundaries, glow with an authority that changes the order of things.
Review: Geneva Convention
As this gets quieter, it shouts more loudly. Exciting as this is, it will devastate when it finds its arc. This might ascend into something crucial.
Review: That Witch Helen
An absorbing retelling. Whatever Ridewood and Sibyl Theatre tackles next will be worth waiting for.
Review: Women’s Writes
We’ve been lucky to sit in on the first stage of a very promising conversation collaboration, and theatre piece.
Review: Richard III
In a female-led cast led by the eponymous Richard III (Michelle Terry) it’s striking that the trio of cursing women is this production’s highlight
Review: Banging Denmark
This production’s 100 minutes are so absorbing you’re not quite sure if the time’s stopped, or just your preconceptions. Stunning, a must see.
Review: The Human Body
The work’s best at its quietest, where intimacy doesn’t need shouting. It’s still an intriguing development, as Kirkwood, as in her magnificent The Welkin, interrogates the condescensions of history.
Review: London Zoo
A masterly play in the making. It goes where very few dare, and in an environment we think we know. Very highly recommended.
Review: Cowbois
Cranford’s gone Wild West, via the Court and RSC. Cowbois is of course daft. But it’s magnificent in its silliness, contains wonderful – and truthful – moments. Deadly serious can have you rolling in the aisles and still jump up for the revolution.
Review: The Good John Proctor
A valuable corrective to anticipate both real events and Arthur Miller’s take on Abigail Williams
Review: The House of Bernarda Alba
Adaptor Alice Birch takes the House apart like Rachel Whiteread’s sculpture. Harriet Walter is magnificent: staring out like a jailor, patrolling. Hainsworth remains hypnotic and terrible, joyously sexual and headlong as her Juliet in self-destruction.
Review: The Good Dad (A Love Story), The Mitfords
Now a superb double-bill, and makes a compelling case for these two shows to be yoked together, with their intertwining of family, sisterhood, abuse and terrible consequences.
Review: The Confessions
Though not the ordinary made phenomenal, Alexander Zeldin’s touchstone, it’s an outstanding personally-inflected testament and striking advance.
Review: The Yellow Wallpaper
Stephanie Mohr’s adaptation is a remarkable manifestation (no other word seems more apt) of the Charlotte Perkins Gilman short story The Yellow Wallpaper, an important realisation of a key feminist awakening. It’s good enough for you not to want it depicted in any other way.
Review: Black Mountain, I Dream Before I Take the Stand
In Black Mountain Brad Birch shows in part how fine he can be. Arlene Hutton’s I Dream Before I Take the Stand is a short assault on the way the law assaults its victims, particularly women.
Review: Fergus O’Donnell, Losing the Plot, Rebecca Frew Safe, Bernadette Cremin Painless
Erin Burbridge kept tech sound and lighting effectively sashaying throughout, and tre propsl, particularly in the latter piece, attractive and undistracting. In just three months work, with term-breaks, this course run and directed by Burgess tonight has produced something vital. It needs celebrating and its best work a swift life in full-scale productions.
Review: Makeshifts, Realities, Honour Thy Father
Finborough’s absorbing ReDiscovered season continues with a triple-bill of plays directed by Melissa Dunne that after tonight, you might never wish to imagine apart. Of course they should transfer, be far better-known, and at least they’re packed out - grab a ticket if you possibly can. We can be grateful again for Neil McPherson’s curating yet another series of early 20th century revivals.
Review: Did You Eat?
The combined talents of Kim and Yejin are a force to be reckoned with, and it is hard not to feel while watching that we are seeing the beginnings of a potentially legendary partnership.
Review: waiting for a train at the bus stop
Captivating, laced with humour but dark and heart-breaking.
Review: Initial Consult
Despite what might seem to be heavy material, there is never a moment where you feel like you can’t laugh. It is all delivered with warmth, energy, and skill that is impossible to not be charmed by.
Review: Under the Kunde Tree
There’s much to learn here, and as theatrical spectacle this is the intimate intimating the epic. Clarisse Makundul has given us a powerful work, and I’d urge you to see it.
Review: Bloody Medea!!!
Physical comedy debut by April Small; with a bit part for Zeus, puppet-deaths and an elephant themed singsong.
Review: Lovefool
Though it might be red-topped as a Fleabag for the abused, it’s so much more excoriating. It’s also a work profoundly moving, necessary and – particularly for Gintare Parulyte - an act of courage. Lovefool’s on till May 26th; do rush to this 55-minute must-see.
Review: Havisham
As ever with Heather Alexander, this is a masterclass in acting. It’s also a masterclass in directing and technical address. The outstanding one-person show of the Fringe so far
Review: Manic
A new solo show that combines puppetry, spoken word and theatre to bring an honest look at sex and trauma to Brighton Fringe 2023
Review: Sugar Coat
Essential theatre. Five singer-actors, memorably punchy music, witty and heartbreaking – most of all groundbreaking – storytelling. 90 minutes of this and you’ll know just what to do with the patriarchy.
Review: Hakawatis Women of the Arabian Nights
Original, bawdy, exploratory, seductive and elegaic in equal measure. A Faberge egg, continually hatching.
Review: Love All
Another first-rank revival from JST, specialists in rediscoveries: a fitting end to Tom Littler’s tenure.
Review: I, Joan
The title role goes to Isobel Thom, making their professional debut: the greatest I’ve ever seen.
Review: Ghislaine/Gabler
A spell binding multi layered exploration of privilege, entitlement, and the desire to control…
Review: Consent
Raine balances articulate ferocity with its opposite: a broken plea. Scott Roberts’ revival improves on the NT premiere. In his hands Consent’s a small classic.
Review: Henry VIII
A wonderful score and musicians, above all Bea Segura’s titanic act of shrivelling, make this a must-see.
Review: Airswimming
Superb revival of Charlotte Jones’s play about two women incarcerated for fifty years for bring different. With a standing ovation of such force that convention had to be broken with the actors forced back on stage.
Review: Marys Seacole
No simple swapping of heirs and originals, but a dream of the future by Seacole, or equally present dreams raking the past. Do see this.
Review: Room
As a condensation and enactment of Woolf’s seminal text this can’t be improved on. The outstanding one-person show I’ve seen this Fringe.
Review: Little Wimmin
An adaptation of Louisa May Alcott's classic novel Little Women by all-female performance art collective Figs in Wigs
Review: The Chalk Garden
Not quite the last drawing-room comedy. But the Janus-faced prophesy of plays that took thirty years to catch up.
Review: Di and Viv and Rose
A first-rate revival of this heartwarming play, surprising you with grief, and joy
Review: Sitting Pretty
When you see this show return, it’ll be outstanding, and in the frame for awards.
Review: Sacrament
A revelation, superbly written and acted. Comparisons have been made with A Girl Is A Half-formed Thing. I can think of no higher praise either. You must see this.
Review: Living Newspaper #7
Like all the Royal Court’s Living Newspaper series, we need this. Watch a group of young dramatists take on the future
Review: Living Newspaper #6
Like all the Royal Court’s Living Newspaper series, we need this. Watch what this does with the future
Review: 15 Heroines: 15 Monologues Adapted from Ovid
Groundbreaking. The smallest producing theatre in the West End through lockdown has become the largest.
Review: Shoe Lady
Katherine Parkinson inhabits that breaking through the office crust asphyxiating us
Review: Scenes with girls
Scenes with girls owns a buzz, a life, a difference about loving that gives it a sliver of unique.
Review: Swive
A Hilliard rather than Holbein, it’s the velocity of Elizabeth’s survival that enthrals
Review: My Brilliant Friend Parts One and Two
Cusack and McCormack give the performances of their lives
Review: A Brief History of the Fragile Male Ego
Passion and pace from the whirlwind that is Melanie Jordan
Review: Flo & Joan : Before the screaming starts
Following their Sell Out 2018 run Flo & Joan are back and better than ever.
Review: How to be Brave
Siân Owen’s one woman play set in Newport is a lively, fun and heart wrenching ride
Review: Taboo
A chilling glimpse into the world of a little known but influential woman from the Nazi era.
