Director Rebecca Frecknall and actress Patsy Ferran recently picked up deserved Olivier Awards for their revelatory revival of Summer and Smoke. Now, they’re back at the Almeida, bringing that fresh approach to well-known Chekhov instead of obscure Tennessee Williams. Read … Continue reading
Caryl Churchill’s ground-breaking 1982 work comes to the National for the first time – and, also a first, with a full cast rather than actors doubling up, as the playwright had originally intended. It adds to the expansive feel of Lyndsey … Continue reading
From Arthur Miller and Caryl Churchill to Don Quixote and zombie gore. Read my full BroadwayWorld article here
The actresses discusses her role in Sweet Charity at the Donmar Warehouse. Read my full BroadwayWorld interview here
“We are only as powerful as the stories we tell.” So proclaims poet and activist Emilia Bassano, as she wrestles back her own story in Morgan Lloyd Malcolm’s 2018 Globe hit – its raw, feminist, revolutionary power just as potent … Continue reading
Pulitzer-winner Bruce Norris once again challenges audiences with a play built around a difficult topic – in this case, asking whether paedophiles are irredeemable, how they should be punished, the distinction between justice and vengeance, and whether an empathetic response … Continue reading
News emerged today that Hollywood actresses Felicity Huffman and Lori Loughlin were among 50 wealthy people charged in a college cheating scam dumbed “Varsity Blues”, in which they allegedly paid bribes of up to $6 million to secure places for … Continue reading
The National Theatre’s Follies (currently enjoying a well-deserved encore run) is something of a musical theatre miracle. Stephen Sondheim and James Goldman’s 1971 show has endured almost as much existential angst as its characters, endlessly chopped and changed, but Dominic Cooke’s production – appropriately enough – … Continue reading
Harriet Lane’s memorably unsettling 2012 novel, about an overlooked sub-editor who infiltrates the literary elite, has been adapted for stage by Lucinda Coxon. Its combination of psychological thriller and industry satire is decently translated, but a conservative production from Bridge … Continue reading
