Review: Measure for Measure
Immerse yourself in Blanche McIntyre’s quizzical production. You’ll come nearer to this play.
Genre: Dark Comedy
Review: The Cat and the Canary
If you’re a Classic Thriller Theatre Company fan, don’t hesitate. Though we can be grateful to Bill Kenwright for trying out these creaky creepies, a serious bit of thought ought to go in to just what genres they are first.
Review: The Merchant of Venice
This production needs a run. It’s potentially a great interpretation.
Review: Between Two Waves
A play about the Climate Crisis, family, photography and being screwed by insurance.
Review: Two Horsemen
The glaring energy of this piece can’t disguise how it strikes profundity in its funny-bone.
Review: The Merchant of Venice
A fleet traversal memorable for insights the company bring during and after their performance of it
Review: The Two Noble Kinsmen
We’re looking at a bright Book of Hours. Barrie Rutter’s done it profound service, adding a warmth and agency that opens up this pageant. This is hopefully just the first of many such he’ll bring to the Globe.
Review: The Winter’s Tale
Far more than a curate’s egg, this production reveals things we’ve never seen
Review: The Taming of the Shrew
See it and you’ll never think of the Shrew without this groundbreaking stab at the dreams of men.
Review: You Stupid Darkness!
Bleakly funny, with flickers of tragedy, to make you see how redemptive kindness is
Review: Scenes with girls
Scenes with girls owns a buzz, a life, a difference about loving that gives it a sliver of unique.
Review: The Winterling
A triumph. Nearly flawless, it must be seen by anyone interested in contemporary drama.
Review: A Day in the Death of Joe Egg
Over 50 years on, this still sets benchmarks. Its power to enthral, to appal can never date.
Review: All’s Well That Ends Well
Hannah Morrish’s Helena shines in this achingly desperate, quietly beautiful production.
Review: Fleabag
Original, raw, brilliantly funny and devastating. This production is Fleabag neat. Its harrowing streak of genius burns like a healing scar torn.
Review: Beep Boop
A one man mime and physical comedy theatre show with a live digital soundscape, exploring society’s uneasy obsession with online life and the curious delusional pull away from an actually lonely reality.
Review: Umbrella Man
Start your Fringe day with a bang in the hands of a very talented poet and storyteller
Review: The House of Influenza
A solo show of many zany characters exploring what one might do in a suburban zombie attack if an over indulgence in horror movies is your only frame of reference
Review: Hitler’s Tasters
You will stumble out at the end completely bowled over by the power of this play
Review: The Mayor’s Debate of Tranquility, Nebraska
A darkly wry commentary on decorum in American politics
Review: Little Miss Sunshine
It’s a quiet heartbreaker, with stoicism and love the only answers. Do see it.
Review: Henry IV Part 2 or Falstaff
The triumph of this newly-energized production is bringing the darker Falstaff to a diverse audience
Review: INK Festival Feast From the East
I’ve not seen a festival of short plays to compare with these.
Review: The Glass Piano
A bewitching mix of deconstructive magic and fabulous therapy, it’s above all Grace Molony who brushes distinction into this already distinctive production.
Review: Mary’s Babies
Maud Dromgoole’s proved more than adroit, skilful, and deliciously risk-taking. A must-see.
Review: Rotterdam
Rotterdam’s an outstanding play about sexual identity, choices, and above all what it means to transition.
Review: Loving Androids
A beautifully-constructed play, small in compass, big in scope and deft at managing the transitions
Review: Shipwreck
A superb ensemble piece. Of all dramas on these interesting times in America, it’s the one truly necessary.
Review: Cyprus Avenue
Devastating drama about the DNA of bigotry; and it all starts in surreal farce.
Review: The Lady From the Sea
A groundbreaking production. Even outside its unique terms it’s outstanding.
Review: The Tell-Tale Heart
As an electric shock to schlock gothic, theatre doesn’t come much better than this.
Review: Allelujah!
Bennett’s exhorting us to fight back with laughter and rage in this riveting, timely play. It’s a sad and angry consolation.
Review: The Little French Lawyer
Make friends with this troubling, deeply fascinating, vitally sour play.
Review: Stories
Utterly compelling. Anything Nina Raine writes now is routinely expected to touch greatness. No pressure.
Review: Cock
A superb revival of Bartlett’s warmest, most ground-breaking, perhaps most enduring play so far.
Review: Measure for Measure
The most thoughtful and thought-provoking recreation of a Shakespeare play this year.
Review: Happy Now?
However fine the original 2008 cast, you won’t miss them with this company’s revival of a stunning contemporary play. See it.
A completely absorbing experience packed into a pulsing interior. Don’t miss it.
Review: The Graduate
There’s so many reasons to see this production. It’s worth hanging around for returns.
Review: Home, I’m Darling
It’s a moment when rejoicing to concur with the general public, as Samuel Johnson once did over Gray’s Elegy, is the only thing to do.
Review: Fear Itself
funny, dark and frightening - a psychological thriller that will keep you on your toes
Review: Katie Johnstone
Most of all you take away the sheer bravura of Georgia May Hughes’ throwing everything up in the air. She carries the energy to a cheery bleakness. And you want to cheer.
Review: The Merchant of Venice
Exceptional in many things, it’s almost a classic production and definitely worth a detour for.
Review: Flesh and Bone
Warren’s East London heritage is similar to other writers, and it’s his time to re-tell it now, with new notes and a love of language that muscles in and won’t let go.
Review: The Winter’s Tale
If Sicilia and its dense expressive syntax could rise elsewhere, this might be altogether remarkable. As it is, enjoy its slow burn.
Review: No One is Coming to Save You
No One is Coming to Save You makes me want to see a lot more of Nathan Ellis.
Review: The Two Noble Kinsmen
We’re looking at a bright Book of Hours. Barrie Rutter’s done it profound service, adding a warmth and agency that opens up this pageant. This is hopefully just the first of many such he’ll bring to the Globe.
Review: Fleabag
Original, raw, brilliantly funny and devastating. This production is Fleabag neat. Its harrowing streak of genius burns like a healing scar torn.
