Review: Rice

Do see this work of understated virtuosity, rich in character, substance, a shape-shifting singularity.


Review: Mary Stuart

A new take on Schiller’s play that removes the men and truly heightens the drama.


Review: Misfits

An important play, tackling the deadly serious with laughter that all too easily could lead to stark tragedy.


Review: Troy Story

Again the most educative stand-up and a thrilling presentation. Oh and bloody funny on war, male sexuality and the Bechdel Test.


Review: The Sensemaker

An astonishing, disturbing shapeshifting sliver of genius.


Review: Two Horsemen

The glaring energy of this piece can’t disguise how it strikes profundity in its funny-bone.


Review: Frankenstein

Imaginative, Exquisitely Haunting and Moving - Visual Storytelling at its best!


Review: Les Blancs

A superb realization of Lorraine Hansberry's unfinished masterpiece - a classic of Ibsenite proportions


Review: Amsterdam

Did I say sucker-punch? It’s what the Orange Tree do every time.


Review: The Tin Drum

Nico Holonics’ blaze-through avatar is unlikely to be surpassed.


Review: Three Sisters

This spectacular production beats with a fervour and purpose few adaptations achieve. Ellams has made Three Sisters new.


Review: Hunger

An exemplary, scrupulous production so starkly contemporary, it makes Hunger contemporary forever


Review: #We Are Arrested

Peter Hamilton Dyer carries this celebration of the conscience to be fully human


Review: Monster

A highly inventive look at life with visuals, dance and an assault on your senses.


Review: Taboo

A chilling glimpse into the world of a little known but influential woman from the Nazi era.


Review: The Hunt

An outstandingly theatrical re-visioning of a film


Review: The Flies

There’s nothing like the Exchange’s approach: their bi-lingual virtuosity burns questions.


Review: White Pearl

The finest new play from the Court this year, gleaming and deadly


Review: Pah-La

A searing arc of a drama based on true events


Review: Underground Railroad Game

The most radical piece of American theatre I’ve seen, and certainly the bravest. See it.


Review: De Fuut

Disturbing look into the mind of a paedophile


Review: HUFF

A gut-wrenching tale of Indigenous brothers caught in a torrent of solvent abuse in the wake of the death of their mother.


Review: The Fishermen

A Traumatic But Transformational Fight For Life, Freedom, and Understanding


Review: Huff

Heart-breaking, darkly comic and beautifully performed


Review: £¥€$ (Lies)

By the end of this you’ll know far more about the banking sector than even Robert Peston explains. Now go and play them for a fool.


Review: Exit the King

We need such risk-taking theatre back. This outstanding production of Exit the King might just remind us how to get it.


Review: In the Night Time (Before the Sun Rises)

This production’s sheer inventiveness, the feral truth of the acting and fabulously exploding set surely reinvent something; and land this drama where it should be: in the bleak dark before a bleached-out dawn.


Review: Lonely Planet

If you know Angels in America, you’ll be grateful for Dietz’s concentration and economy. Much reckoning is packed into a little room.


Review: Utility

It’s a great phase of U. S. playwrighting, driven by women, and we’re lucky to be living in the middle of it. Schwend unleashes unexpected miracles and is one reason to see this hushed superlative of a play.


Review: Act and Terminal 3

everything – set, actors, script – come mesmerizingly and painfully together.


Review: Bus Boy

What Journeys Do We Have To Take To Appease The Beast Within?


Review: Arr We There Yet?

A Madcap Mashup of Circus and Storytelling with a Little Tango for Extra Spice


Review: De Fuut

A profoundly disturbing updating of 'Lolita'


Review: My Father Held A Gun

"A passionate, storytelling show with live cinematic music about war and peace, acts of heroism, and the love for life."


Review: Medea

A twentieth century adaption by Jean Anouilh


Review: Moormaid

Bott asks serious questions. How can a terrorist redeem themselves, and how do individuals negotiate this? Can art play any part in rehabilitation?


Review: The Gulf

Gould’s team have made this as authentic as some of U. S. casts who travelled over from The New York Public Theater for the Nelson plays. There’ll always be some who don’t get this kind of theatre, but there’s an increasing appetite for and understanding of it. When you do, like Kendra’s Betty, you’ll be hooked.


Review: This Restless State

If it comes near you – visit the website – do try and see this pungently-paced meditation on upheaval. This Restless State breathes across its zones as a play with real potential that simply needs a little more daring, a little less peeling back.


Review: Rambert

The theatre of Goat, its apotheosis into something else from its comedic opening, is stunning. It’s what the Rambert does; completely reinvent itself and the dance. this and the earlier ballet are outstanding in themselves. The Cunningham company are lucky to learn from them.


Review: The Great Wave

Turnly’s straightforward play treats of a history we’re unfamiliar with, and we need it straight. That’s more than enough to make it thoroughly absorbing, with far more questions than when we entered the space. Do see it.


Review: Grimly Handsome

If you want theatre to change your life a little and wonder where our DNA and urges trek to, you could do infinitely worse than shiver here.


Review: Barber Shop Chronicles

Barber Shop Chronicles is a breath-taking revelation for those of us who had small inkling of a world in miniature. The act of barbering is more than an exchange of service with fringe benefits: it’s a profound act of human adjustment, including that vital glance in the mirror.


Review: Goats

It’s an essential drama, and an even more essential document for navigating the Syria we don’t know, that of ordinary non-opposition Syrians making the best of it and thus the worst. Perhaps a pared-down version might one day follow. It’s too good to miss for the sake of a few shaggy scenes.


Review: Bad Roads

Leading Ukraine dramatist Natal’ya Vorozhbit won’t indulge the luxury of exploring just one outstanding tableau in isolation in these six harrowing vignettes. Infinitely more than postcards from the edge of the redacted west, they nudge then kick us back out of our own barbaric comforts.


Review: The Kite Runner

David Ahmad’s anchoring central performance is enhanced by Jo Ben Ayed’s physical one. Theirs is a remarkable chemistry, radially informed by Doorgasingh and Faroque Khan’s reactions. It’s a potent, heartwarming and heartrending story, spellbindingly translated to the stage and here with more power even than before. Don’t miss it.


Review: The World of Yesterday

Stefan Zweig lends himself peculiarly to a theatrical dimension. It’s over in a blink. If you’re at all near, you won’t regret the Print Room’s opalescent sliver of magic conjuring the best out of this production.


Review: Poison

This play’s so clear on the failure of closure and reconciling loss that it’s an index of how Poison in fact addresses, even helps us confront them.


Review: B

We need more Calderon and more of the Court’s excellent International Playwrights programme. ‘Those who are still laughing’, Brecht claimed grimly, ‘have not heard the terrible news.’ Yet he always laughed and Calderon, in William Gregory’s idiomatic translation ensures this piece is memorable because we laugh, scratch our heads, perhaps look furtively at our bags.


Review: £¥€$ (LIES)

Cleverly crafted experience by masters of interactive performance


Review: Cirkopolis

Highly skilled entertainment. Lyrical, dramatic, beautiful, spirited, exciting and intriguing!


Review: The Dreamer

A visual treat! Creative, inventive and visceral physical theatre.


Review: Angels in America: Millennium Approaches

Marianne Elliott with her superb cast and ramped-up effects towards the end ensure this episodic freewheeling fantasia hooks you compulsively, beating you over the head with angels’ wings as Part One shuts them hypnotically and we’re suspended.


Review: Collapse

Here I am - Cassandra. And this is my city under ashes.


Review: The Gabriel Trilogy

The Apple and Gabriel sequences are outstanding. Nelson stands apart. Seven plays in seven years seems of a piece, resonating now more movingly and terribly than they did when premiering in the exact moment. Despite himself Nelson has prophesied in The Gabriel Trilogy things he didn’t want to pass. It’s an extraordinary achievement.


Review: Borderline

"....saving you the need to go to Calais or any other refugee camp"


Review: A Lie of the Mind

Sam Shepard declared that the wrong play got the Pulitzer. Buried Child was he felt crude by comparison with the later 1985 A Lie of the Mind. It joins the other meta-myths of America in the chopped sentences of demented individuals we see too much of. The extraordinary convergence of the ending seems not quaint and outdated but prescient again.


Review: Blindfold: The Night of the Hunt

Four actors led by writer/director Sofia Stavrakaki enact what’s clearly a prison of a circus, people forced to perform a ritual of trouping for the delectation of a whip-cracking elite. A summary hardly does justice to the atmosphere this production evokes or the meta-language burning through the glares of hallucinated prey. You’ll know whether it’s for you if you like Beckett or European theatre


Review: The Crucible

This masterpiece of courageous refusal gets one of its finest performances in recent memory. Proctor’s decision and Slattery’s delivery of his great lines: ‘Because it is my name! Because I cannot have another in my life!’ rings down this supreme testament to honesty – to bear false witness and incriminate others to save oneself - in the face of tyranny. Slattery defines this role in a way very few have; his energy radiates through a superbly lucid, passionately argued production.


Review: Out of Blixen

Everything in Out of Blixen is realized with a magical economy. Kathryn Hunter’s s in her fluid element here, morphing into twelve-year-old girls and seasoned dowagers to her own directed paces The Europhilic Print Room has transformed the Coronet’s circular space into a consistent vision of theatre.


Review: The Plague

Neil Bartlett’s adaptation of The Plague plays on the mind as it’s meant to. Ferocious simplicity and pared choices make for an absorbing evening. Shorn of props, video projections or naturalist distractions, we let the piece seep in. Bartlett knows such brutal relevance never needs underlining, as we look at homeless Syrians and those of every ethnicity shivering in an unsuspecting city.


Review: The Miser

The famous adage of farce as tragedy played at breakneck speed begs questions of how much pathos Moliere wished to inject, how fast he wanted to go in The Miser. All teeters towards the tragedy of the absurd. This may not be 1668 very exactly, but it’s the nearest to one side of Moliere we’ve seen for years, and conveys something of the shock of his new.


Review: The Kid Stays in the Picture

In the best sense this production’s stupefying, a spectacle shot through with theatrical tropes suggests that, if Evan’s revelations could be more frequent, Kid would be dramatically breathtaking too. And it is thrillingly itself.


Review: The Glass Menagerie

Led by Cherry Jones and Michael Esper, Williams’ fresh map of hopeless chances freshly realized, in a revival whose pitch is as perfect as the flowers picked off Amanda’s mouldy dress.


Review: New Nigerians

As a snapshot of political compromise and impossibly contrary pressures African politicians encounter, it’s of the keenest interest. Agboluaje’s characters are vivid, and in one great scene they breathe fire.


Review: The Cherry Orchard

A joyful sadness more nearly than most strikes the balance Chekhov mockingly prescribes in The Cherry Orchard: a comedy, grasping a clutch of infernos. Jade Wlliams’ grief-clenched crumpling as Varya perhaps steals the show but Simon Scardfield’s misery-infused Epikhodov, Abhin Galeya’s weedily gauche Trofimov and Sian Thomas’s giddy Ranevsky round out a memorable whirligig of a production.


Review: Winter Solstice

Winter Solstice, Schimmelpfennig’s apparently naturalistic fable is more than timely. As a dead-of-winter warning, it urges us to recalibrate, rewind our imaginations to the point where we might stop the tide of reasonable boundaries tightening into a noose.


Review: Hedda Gabler

Occasionally opaque, van Hove frames his eloquent prison with enough space for Greek tragedy and his uniformly fine cast to project it, however skew. Wilson’s supreme power, refracted through the cataract of this fitfully illuminating production, is to convey the sense that whatever role she might have chosen, Hedda’s grown up dead.


Review: Whose Sari Now?

This is consummate storytelling, and Moorthy’s narrative variables attest to pitch and speed, a charactering that gifts all it can to the individual and in some cases real tales. There’s much here we cannot forget.


Review: The Clean House

Sarah Ruhl’s The Clean House is paced by director Sam Chittenden with clean elegance, counterpointing the messiness of existence with the neatness of fable, and the human need to straddle, even celebrate both. In a play about the perfect one-liner, we get the joke and far from killing us it offers us a small lesson in loving.


Review: No’s Knife: Lisa Dwon in Conversation with Clemency Burton-Hill

Here in conversation with Clemency Burton-Hill, after a soaring creative response to Beckett’s Texts For Nothing in her own adaptation No’s Knife, Dwon has claimed these texts as dramatic. Dwon avoids dissolution with her tensile strength and staggered, staggering vocal range, brushed with a tang of mortality – and a bit more of that more than we knew.


Review: No’s Knife

We’re enormously privileged to be living in such a rich age of Beckett performance, and here, a soaring creative response Beckett encouraged has claimed these texts as dramatic. Somehow Dwon avoids dissolution with her tensile strength and staggered, staggering vocal range, brushed with a tang of mortality.


Review: Father Comes Home from the Wars

In three hours there’s hardly a missed beat and the title will tease and baffle in its implication long after the end. Brave visionary theatre, it doesn’t require that much from audiences to enthral.


Review: Glasgow Girls

Even on fictive terms this would garner praise for its raw power, its beating passion for justice and humanity. Difficult as it might be not to come away warmed this ensemble – and original musical – make it so very easy. This needs to be everywhere and should be shown if not live, then screened.