Reviews & Listings

The Witch of Edmonton

The fourth and last offering in the Royal Shakespeare Company’s Roaring Girls season of early modern plays with strong female roles is a work not seen in Stratford since 1981. Written by three playwrights, it was based on an actual case. Elizabeth Sawyer’s conviction for witchcraft, consorting with the devil in dog form and causing local mayhem is interwoven with...

La Boheme

One of the first so-called verismo operas, there is not usually a ‘real-life’ feel to La Boheme – something Jonathan Miller’s 2009 production attempts to address. This is already the fourth outing at English National Opera for his take on Puccini’s romantic tragedy among penniless artists, its updated visuals inspired by Brassai’s photos of 1930s Parisians. Isabella Bywater’s impressive designs...

Jonah and Otto

This revival, of a play first seen at Manchester’s Royal Exchange in 2008, reunites playwright Robert Holman with director Tim Stark, who directed Rafts and Dreams as part of the Holman season at the Royal Exchange in 2003.
Jonah and Otto is a two-hander set in a seaside town on the south coast of England. Otto is a lonely 62-year-old...

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Hamlet by Harry Venning for week 44, 2014




All features

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