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Arty (James Dryden) is propped up in bed surrounded by food and the remains of his childhood. It’s a complex, prop-laden set. The fattest man in Britain, he is unable to move except in his imagination.
Fed to extremes by his anxious, muddled, brittle, damaged mother (Robin Weaver), he is the subject of an intrusive TV documentary created by an...

Who Do We Think We Are?

From the memories and family stories of a company of actors ranging in age from early 60s to late 80s, Sonja Linden has assembled a collage of images and anecdotes covering the past century, with the effect of an album of snapshots of moments thought worth remembering. These include details of grandparents during the First World War, parents during the...


The winner of this year’s Papatango new writing prize is further proof of the high quality of the competition that produced Dawn King’s dazzling Foxfinder, which was set in the English countryside. Fiona Doyle’s Coolatully is another rural tragedy, this time located in Ireland and powered by a rotten economic heart.
Kilian was once the pride of the...

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The government is proposing allowing all child actors to start work at 7am. Is that too early for young kids?

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Hamlet by Harry Venning for week 44, 2014




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In this week's issue

    Exclusively in the October 30 issue of The Stage
    • "I was fascinated by what he could do with his face." Olivier winner Jack Lowden explains his obsession with David Jason in Only Fools and Horses
    • Not sure which drama school to choose? Let our 17-page special help you make the right decision
    • Horror theatre is in the ascendency, finds Natasha Tripney, as she peers into the darkness of a growing trend for the macabre
    • "I got tired of nice bodies." DV8 Physical Theatre's Lloyd Newson explains why he stepped away from the mainstream
    • Ian Herbert reports from the International Association of Theatre Critics symposium in Beijing, where he hears an innovative idea to replace theatre programmes with an app
    • As Stage Directors UK gathers pace, Michael Coveney explains why directors must get a better deal
The Orange Tree Theatre in Richmond, London. Photo: Noel Foster