Review: Sarah Ruhl Eurydice
Sam Chittenden coaxes provisional miracles from her cast and space. The medium’s playful, even fun. The message though is bleak; and love is still in the letting go.
Genre: Fringe Theatre
Review: Joan Littlewood Oh What a Lovely War
The Merry Roosters forget who they are and come together, awed by the transcendent theatre they’ve invoked. See it.
Review: Claire Dowie Adult Child/Dead Child Finborough
Claire Dowie’s never mellowed, and remains essential: taut, inordinate, alone, unreconciled. In other words, see it.
Review: Charlie Josephine: I, Joan
Daisy Miles, supremely, Laurits Hiroshi Bjerrum and Rhys Bloy excel in a fine cast and prove this clarion of a play can rise again triumphantly.
Review: Sophocles Electra
The end is set. Conor Baum directs that ratcheting-up inexorably: never hurried, never static. The audience holds its breath. So will you. Outstanding.
Review: Duty
A fresh and urgent play, Duty should tour as a salutary reminder of how war impacts community, divides war-influenced majority from the few who see through war.
Review: Ibsen Ghosts
A triumph of staging, fine acting and in Sarah Tansey a central performance to rival any Helene Alving I’ve seen.
Review: The Fabulous King James Bible
A fabulous historical comedy about the gayest king and his new bible
Review: Jonathan McLean Touching it Makes Baby Jesus Cry: The Musical
This can sing all the way to Edinburgh: just stopping off to be publicly burned, along with Jonathan McLean, in the Vatican itself.
Review: Corrina O’Beirne With Ruby & I
Corrina O’Beirne ‘s a name to seek out in future and in Kempell and her cast and creatives, she’s found first-rate advocates. A must-see.
Review: Tim Coakley In Search of the Dance
Tim Coakley has a potential minor masterpiece on his hands, as he searches for that perfect crashed chord.
Review: Heather Alexander Becoming Maverick
Heather Alexander has arrived as a creative, not simply re-creative force. A cause for dark celebration.
Review: Samuel Rees and Gabriele Uboldi Lessons on Revolution
It’s intersectional, it’s personal, it’s interactive: all great reasons to see this play: unless you’re a board member of BP, or the government.
Review: Helen Edmundson The Heresy of Love
A brave undertaking – typical of Gerry McCrudden and his teams - and a rare opportunity to see this superb, all-too-topical play.
Review: The Inseparables
A transfixingly beautiful production, with often superb acting, especially from Lara Manela
Review: Tending
Essential theatre, essential witness and mandatory for anyone who wants to know how human we have to be, from beginning to end.
Review: The Beauty Queen of Leenane
This is stark theatre. Some will hate Martin McDonagh, and some already love him. I’d say you must see this, where it all started.
Review: Lula Mebrahtu I Am – OommoO
Everything you’ve heard is true. Lula Mebrahtu is memserising, and I Am – OommoO like its creator has vast potential.
Review: Gobbling Market
A visceral exploration of Victorian Britain set against the exploitation, through the Opium Wars, of China, served with a less than delicious meal.
Review: The Kelton Hill Fair
A mix of a brutal Brigadoon and the whimsy of the Wonderful World of Dissocia, this is a keen addition to the development of Scottish narrative.
Review: Men’s Business
A quietly phenomenal, ground-breaking play, blistering in sumps of silence. See it.
Review: Flutter-Bye
Since this play and Allison Ferns have a lot of legs, it’ll be worth coming back to see it run.
Review: Mark Tournoff: A Word With the Bird
Mark Tournoff’s an engaging and modest MC. The talent he promotes remains and makes visits worthwhile.
Review: Hotel Otori Skin-Okubo
A highly innovative and enticing piece of theatre which examines our relationship not only to our families, but to the way in which the emergence of new ideas and dawns should be embraced.
Review: Helen Edmundson (adaptor) Anna Karenina
With Diane Robinson’s team there’s a vibrant retelling, superbly produced
Review: Sara Farrington A Trojan Woman
An acclaimed pocket tragedy which yet carries Euripides’ weight in Farrington’s framing, it more than touches the heart: it snatches it and hands it back as a sad and angry consolation.
Review: Shakespeare in Love
The mystery’s in the ensemble, the production, its bewitching leads. It’s a mighty reckoning in a little room.
Review: Ruari Conaghan Lies Where It Falls
Ruari Conaghan has nowhere to hide in every sense. He exudes the charismatic of 100 watts cosplaying a glowing 40, then hits you between the eyes
Review: Napoleon: Un Petit Pantomime
A sure-fire miniature epic, spanning history and damn lies. Sublimely written and with a superb cast both seasoned and fresh, the finest concentration of panto this season.
Review: Burnt-Up Love
One of the very finest three-handers I’ve seen for a long time, Burnt-Up Love refuses to judge and nor will anyone left reeling after seeing this. Stunning.
Review: The Welkin
The sheer acting catches fire: not a weak link. With their most ambitious production ID triumph. There’s nothing like them at full stretch.
Review: Men Don’t Talk
A vital piece of advice wrapped in the right delivery mechanism for an age, and ages, that needs it more than ever.
Review: Beryl Cook: A Private View
A further triumph in Kara Wilson’s groundbreaking fusion of words and paint.
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.
Review: Meet Me at Dawn
An aching, unflinching look at what we might face. Yet few seek to live through such a pact as bestowed here. A Greek gift. Unmissable in the south east.
Review: The Events
A combined production of community and profession which shows why both should have a mutual dependence upon each other.
Review: Janie Dee’s Beautiful World Cabaret
Who could object to its urgency, or its starry messenger? A gem.
Review: Stoppard The Real Inspector Hound; Bartlett Contractions
As ever it’s a more worthwhile production than several professional ones we’re likely to see.
Review: Gareth Strachan Project M.E. The Rock Inn Pub
Strachan proves he can pull together serious talent who believe in his work. It’s a step up in all directions
Review: The Silver Cord
A darkly thrilling masterpiece, given what might be its finest UK revival. All are outstanding and Alix Dunmore, and certainly Sophie Ward, should be up for some glittering prizes.
Review: Tweeds
"they nail the toe curling nature of the stereotypical upper classes and it’s on the nose funny"
Review: Trust Me, I’m From Essex
A One Woman Solo Musical full of nostalgia and a whole lot of heart
Review: You Deserve It
It is a play which is undeniably a laugh while attempting to highlight some of the realities of a life in the spotlight.
Review: Hardly Working
She is performed confidently by Lily Simpkiss, really coming into her own towards the end of the play.
Review: Pride and Prejudice
An unalloyed delight, compressing the story but revealing things even those who know the novel will take back to it.
Review: Flat 2
The uses of sound throughout are incredibly effective, adding something different to the portrayal.
Review: Ever Yours
Played by Alex Wanebo, Olivia is beautifully portrayed, her pain feeling tangible throughout.
Review: Hedda Gabler
A lovely piece of drama performed by a young company managing to capture the essence of the piece and add something new.
Review: Oran
Theatre as it ought to be – exciting, visceral, challenging and filled with entertainment.
Review: 2018: Launch on Warning
A well-crafted piece on the angst of teenagers caught in the midst of real threat of the end of mankind.
Review: Because
And that's when we realise, this is the life of someone who hears voices or has intrusive thoughts.
Review: I Am Not Black
This play must be seen. Look out for it and if if pops up anywhere near you. Make sure you catch it.
Review: The Last Incel
A fantastically executed complex drama which negotiates a dangerous topic with creative skill.
Review: Gloria’s Gift
In a world where we're all so connected, how can we be more disconnected than we've ever been?
Review: All’s Well That Ends Well
Don’t go expecting searing insights, but do go for a crack ensemble who will surely turn many to Shakespeare. An endearing and uplifting enterprise.
Review: Surrender
The writing will snare you, Phoebe Ladenburg will hold you, and you’ll lean over the fourth wall.
Review: As You Like It
A first-rate outdoor revival, and easily rivalling what the Globe have to offer.
