Tag Archives: donmar warehouse

The Prime of Miss Jean Brodie, Donmar Warehouse

The bells, the bells! They’re ringing out at the Donmar – ushering girls into class, and nuns into cloister. It’s one of the creative ways in which director Polly Findlay reframes this beloved classic, although a new adaptation from David Harrower also rings … Continue reading

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Fun Home leads June’s Top 10 new London shows

From a ground-breaking musical to a mighty modern classic. Read my full BroadwayWorld article here

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Long Day’s Journey Into Night leads February’s Top 10 new London shows

From O’Neill and flamenco to punk and Pippin. Read my full BroadwayWorld article here

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Hamilton leads December’s Top 10 new London shows

From a feverishly anticipated musical to sci-fi and Shakespeare. Read my full BroadwayWorld article here

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Apologia leads August’s Top 10 new London shows

From a starry drama to musical revivals and family-friendly fun. Read my full BroadwayWorld article here

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Grand Designs

Set designer Bunny Christie talks Curious Incident, People, Places & Things and Phyllida Lloyd’s all-female Shakespeare Trilogy. Read my full Oryx magazine interview here

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Committee, Donmar Warehouse

A memorable 2015 parliamentary select committee hearing asked Kids Company CEO Camila Batmanghelidjh and chair of trustees Alan Yentob whether the organisation was ever fit for purpose. Tom Deering, Hadley Fraser and Josie Rourke’s new verbatim musical – think This House meets London Road – asks … Continue reading

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The Resistible Rise of Arturo Ui, Donmar Warehouse

It’s a bigly Trump-fest over at the Donmar, with adaptor Bruce Norris determined to make Brecht great again – or at least pointedly contemporary. Despite a legal disclaimer in the knowing prologue, the current tangerine regime looms large, replacing (or … Continue reading

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Woyzeck leads May’s Top 10 new London shows

From new takes on Brecht and Büchner to Jez Butterworth’s latest and a classic musical. Read my full BroadwayWorld article here

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Shakespeare Trilogy, King’s Cross Theatre

“Inmates, coming through.” That’s our introduction to Phyllida Lloyd’s landmark trilogy, as the homogenised prisoners are steered through the audience by prison officers. But this extraordinarily empathetic project, developed with Clean Break, gives those inmates individual voices and means of … Continue reading

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