Polly Stenham’s updating of Strindberg’s Miss Julie moves the action to contemporary London, and finds both contempt and sympathy for this new version of the idle rich. But, shorn of its 19th-century context, the play struggles to make the class transgression feel … Continue reading
It begins with deep breathing, in order to access words that hold unimaginable power. And Ian Rickson’s exquisite production of Brian Friel’s masterpiece maintains that space throughout: for words to breathe and simmer, to hang in the air, and for us to … Continue reading
The original version of Rodney Ackland’s provocative work, The Pink Room, had a bruising reception back in 1952, losing thousands for investor Terence Rattigan amidst furious reviews. Since salvaged by the Orange Tree in the Eighties, its rebirth was cemented by … Continue reading
From a buzzy new musical to returning favourites. Read my full BroadwayWorld article here
We begin and end with a grisly decapitation. And that’s rather the problem with this intermittently engaging Macbeth, which starts in the throes of some unspecified dystopian hellscape, and thus has nowhere to go. Read my full BroadwayWorld review here
Pulitzer-winning American playwright Annie Baker returns to the National – where The Flick was a quiet triumph in 2016 – with another work that is epic in form (three hours and change), but similarly spellbinding in its ability to draw an audience close. Though … Continue reading
From a major Pinter revival to Wilde, Schiller and some exciting transfers. Read my full BroadwayWorld article here
The puppet who wants to be a real boy is all grown up in this new musical version – very much the darker side of Disney. Book writer Dennis Kelly went back to the original 19th-century Italian tale, by Collodi, and tonally, … Continue reading
