Simon Jessop marks his directorial debut in what proves a refreshing adaptation of this classic 1920s tale - after Baz Luhrmann’s flamboyant recent film portrayal, it’s a challenge for any director to bring something new to the table.
Fresh from its success in Bath, Trevor Nunn’s lavish and tourist-friendly production of Coward’s crowd-pleaser ought to find a successful second lease of life in the West End.
Inspired by a trip that writer and director Amir Nizar Zuabi and German-Syrian actor Corinne Jaber took together to the Syrian refugee camps in Jordan, Oh My Sweet Land is a poetic one-woman play that explores the current crisis in Syria, as refracted through the stories of the country’s refugees.
Nick Payne’s new play, Incognito, is a superb dissection of memory and identity.
After flirting unnecessarily with gender equality by revising the production with six men and six women, Michael Keegan-Dolan has restored the male-heavy stage presence of the 2009 original.
Gran (Pauline Goldsmith) is entertaining her grandchildren with an elaborate game of pirates in this original, funny, rhythmic piece, which, among other things, celebrates the transformative, intergenerational power of play.
Subjecting a very realistic and time-and-place-bound play to a non-traditional staging proves a successful risk for director Ivo van Hove who, by moving from a Brooklyn apartment to a bare thrust stage, achieves Arthur Miller’s quest to make tragedy out of the experience of the common man.
Coming from the creative team behind the international smash Cantina, and with a line-up including some of Australia’s top circus artists, plus live onstage music from Sue Simpson and Trent Arkleysmith, She Would Walk the Sky holds so much promise - but while it’s rare to make circus soporific, with the help of Finegan Kruckemeyer’s prose, that’s what Company 2 does.
This robust and original piece is about confronting demons, whether that means living with the fear of what is happening to your dad in a 2014 war zone or facing the Minotaur in the murky but terrifying depths of Greek mythology.
This exquisite new ballet by Christopher Wheeldon transports the Covent Garden audience to undiscovered waters and undreamed shores.
Written in 1895 and boasting a fiery female protagonist, The Notorious Mrs Ebbsmith is as radical as any contemporary feminist play.
Strange, quirky and utterly charming, Vanishing Point’s musical play captures the essence of Ivor Cutler, the surrealistic folk musician whose whimsical tunes caught the imaginations of everyone from John Peel to Ned Sherrin and the Beatles - and who remains one of the few artists to have appeared on all four of the BBC’s main radio stations.
Mike Bartlett makes his Almeida Theatre debut with this “future history play” set in the time when Prince Charles becomes king.
On the large, proscenium arch stage of the Sir Jack Lyons Theatre at the Royal Academy of Music, the graduating students languish in a half light as the orchestra warms up and the audience file in.
It’s quite a challenge to evoke the wild, windy Yorkshire Moors in a poky pub theatre in north London, but led by director/adaptor Helen Tennison, this production rises to the challenge in spectacular style.