Genre: Translation
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: Mnemonic
Mnemonic is treasurable, eloquent, a rare passport. It remembers what hope, connectedness and peace smelt like. It’s worth remembering that.
Review: Heart’s Desire/L’Amore Del Cuore
Anyone admiring Churchill, ferocious comedy or excited by a rare UK foray into Italian theatre must see this.
Review: The Kite Runner
Spellbindingly translated to the stage and here with more power even than before. Don’t miss it.
Review: Dream of a Ridiculous Man
A definitive telling of that rarest thing, an uplifting Dostoevsky tale. It’s unlikely to be rendered better than this.
Review: Good-Bye
Wholly absorbing, wholly other, it’s a gem of the Coronet’s dedication to world theatre.
Review: Cold War
Cold War ends with a draining-out of hope in Anya Chalotra and Luke Thallon; a desolate beauty the cast certainly earn.
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: Ghosts
Tom Hill-Gibbins emphasises the original’s shock in conversational prose-style too. Stripped to a straight-through 100 minutes is hurtles like the Greek tragedy with reveals it essentially is.
Review: Men Talking
The end, as it inevitably must be, is a way of recollecting emotion with emotion. An inspiring act of witness, before others, and beyond ourselves.
Review: This Way For The Gas, Ladies and Gentlemen
Based on the writing of poet Tadeusz Borowski and the paintings of Arnold Daghani This Way For The Gas bears explosive witness to shape the pulse of that post-Holocaust world. Bill Smith, Angi Mariano and their colleagues have wrought an enormous service. In the last great reprise of 'Never' we realise we're seeing the finale of an emerging masterpiece.
Review: Accidental Death of an Anarchist
The adage that farce is tragedy speeded up met its greatest progenitor in Dario Fo. In a ferocious new version by Tom Basden of Franca Rame’s and Fo’s Accidental Death of an Anarchist, directed by Daniel Raggett in a stunning production now at the Haymarket, the target here is squarely the London Met. And if you slowed down Basden’s brilliant, no-holds-unbludgeoned telling, details prove tragic enough.
Review: Play On Shakespeare Globe Wanamaker
An invigorating not to say complicit evening by the end. Whilst I have questions about the limits of the texts used, and the understanding of how the texts developed and still – with some academics – the deeper questions of syntax which some adaptors clearly work with – this is exciting.
Review: Anna & Marina
Dovetailing invention and quotation triumphs. It’s a narrative of thrust and weave as well as tone. Overall it's terrific: one of Richard Crane’s very best works. If you care for gripping drama, can be drawn by hypnotic verse and superb acting, haste over to this unique hour.
Review: Jules et Jim
A thoroughly worthwhile, and in several senses heady undertaking. And certainly worth seeing.
Review: And Then They Came For Me
A multi-genre piece that can play anywhere, and needed now more than ever. Both to challenge denialists and most of all to illustrate the inhumanity of governments like ours towards refugees
Review: Phaedra
Stone suggests only someone as demonstrably damaged and damaging as Helen (Phaedra), in other words a politician, might pursue self-destruction so relentlessly; and devastate so many. It’s brilliantly achieved elsewhere than with the core relationship.
Review: You Bury Me
An essential play so rich in its one-hour-forty you emerge dazed with possibilities. Director Katie Posner hopes it’ll change you. So do I.
Review: Pussycat in Memory of Darkness
Neda Nezhdana’s play is a world: not simply a map of pain and war footage. Both essential and in the mesmerising Kristin Millward’s and Polly Creed’s hands, with this team, it’s almost a compulsory visit.
Review: Dance of Death
A hectic in the blood of 20th century drama. Its just here the hectic is realised like never before.
Review: The Journey to Venice
Wiebke Green possesses the measure and tempo as well as delicacy of Bjorn Vik’s work. An exquisite gem worth seeing more than many larger, longer, louder shows.
Review: Hakawatis Women of the Arabian Nights
Original, bawdy, exploratory, seductive and elegaic in equal measure. A Faberge egg, continually hatching.
Review: The Seagull
A Seagull for the initiated, a meditation rather than the play itself, it’s still a truthful distillation, wholly sincere, actors uniformly excellent
Review: The Doctor
A triumph for all concerned. Juliet Stevenson even gains in stature. Robert Icke’s revival could hardly go better than this.
Review: The Dance of Death
Highlights the truth of its bleak laughter. Humane Strindberg. Now there’s a thing.
Review: The False Servant
It’s not just gender-swerving but role-swerving that threatens sexual and social order. Surprises light up even the last fade.
Review: God of Carnage
Acting here is tighter than any version I’ve seen. This revival of a modern classic has to be the best of the Fringe so far.
Review: Tom Fool
Pitch-perfect and compelling. Sometimes knowing your prison walls too much can drive you mad.
Review: When We Dead Awaken
Ibsen’s elusive masterpiece is so rarely performed seeing it is an imperative. Played with such authority as here, in Norwegian and English, it’s not a luxury but a must-see.
Review: An Hour and a Half Late
Don’t miss this authentic, touching, devastatingly comic anatomy of a marriage as soufflé, supremely served by Rhys-Jones and Dee.
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: Pandora’s Jar/Honour Among Thebes
The most educative stand-up and a thrilling presentation. Oh and bloody funny on the tragedies.
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: Hunger
An exemplary, scrupulous production so starkly contemporary, it makes Hunger contemporary forever
Review: My Brilliant Friend Parts One and Two
Cusack and McCormack give the performances of their lives
Review: A Letter to a Friend in Gaza
Amos Gitai’s curating hope from the ruins, impelling the audience to construct a narrative.
Review: The Doctor
A triumph for all concerned. Juliet Stevenson even gains in stature. Icke’s last production could hardly go better than this.
Review: Sadness and Joy in the Life of Giraffes
Rodrigues is a dramatist we need to see far more of.
Review: The Dismissal of the Greek Envoys and The Laments
In nearly every way an outstanding pair of productions.
Review: The Flies
There’s nothing like the Exchange’s approach: their bi-lingual virtuosity burns questions.
Review: Creditors
We’re unlikely to see a better production of this still rarely-performed disturber of ourselves.
Review: Miss Julie
It’s unlikely we’ll get a cleaner version, or a more absorbing production any time soon
Review: The Father
Florian Zeller's masterpiece, in a production and central performance that would do it justice anywhere.
Review: The Lady From the Sea
A groundbreaking production. Even outside its unique terms it’s outstanding.
Review: Don’t Dress for Dinner
For a farce there’s only one spot of monotony. That’s how uniformly outstanding this is.
Review: The Outsider
Like so much from The Print Room, this feels like European theatre. And we need it more desperately than ever.
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: Act and Terminal 3
everything – set, actors, script – come mesmerizingly and painfully together.
Review: Electra
As a gifted exploration of Electra’s themes and a transposition of them to 21st century values, this is as exhaustive, detailed and convincing as you’d wish.
Review: Medea Electronica
Like the recent Suppliants, in a very different way, Medea Electronica asks just what we mean by Greek tragedy, what our conceptions of drama without music are. An essential experience.
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 Lady From the Sea
Happy endings don’t seek the sun, though it helps. This production’s memorable not just for the matching of locale and rationale with the original, but gently aligning the two other couples into the clearer optimism of the married couple. If not all the misty tension of the original emerges, there’s certainly something to be said for allowing such light to brighten the facets of this one jewel of affirmation in Ibsen’s mature output.
Review: The Suppliant Women
In one of the most radical productions ever mounted of Aeschylus indeed any Greek tragedy we’re literally taken to its roots: as in Greece, a community chorus of fifty, twenty-one of them the suppliant women of the play’s title. In this outstanding production, everything to resurrect this astonishing vision has been invoked.
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.
