Alan Bennett’s home city gets a home grown production of The History Boys, his most popular play, and not before time - it has been anticipated with marked eagerness.
With so many legendary historical characters hitting the stage and screen, how does the gentle story of the pioneers who made the first ever non-stop transatlantic flight in 1919 make an impact with audiences hungry for drama, romance and danger?.
Courageous - that is a fitting description of the Philip Michell play commissioned by the ever-enterprising Gwent Theatre for its tour of primary schools.
Thrillingly visceral, the wall of death side-show has been brought into the heart of the latest production from the National Theatre of Scotland, as director Vicky Featherstone continues to explore the boundaries of theatrical experience in a collaboration with performance artist Stephen Skrynka and the Ken Fox Troupe.
Farce is a complicated beast that to work at its best needs to be slick, fast-paced and delivered with assurance.
Lili (Amy Costello) and Yaz (Rachel McKenzie) are teenagers growing up in the Limehouse area of east London, where Half Moon Theatre is based.
Sometimes news stories just fall into the lap of playwrights.
Words matter in the pre-industrial world of David Harrower’s 1995 debut play.
By eliminating outside influences and extracting just the main players from the fairy kingdom, Moon Fool and Trestle Touring have created a considered focus within A Midsummer Night’s Dream.
“Don’t touch the Perspex box or you will break it,” we are sternly warned before the start of Leo Butler’s new play about a couple attempting to deal with the disappearance of their child.
Emotional terrorism can cause as much angst to the New York psyche as physical attacks like 9/11.
Charles, a lovelorn actor, and Peter, a penniless writer, hatch a plan to solve their respective woes.
Twenty-five years after Charlotte Keatley found it almost impossible for anyone prepared to stage her all-female drama about the “ordinary” lives of four generations of women, this still stands as one of the most finely crafted works in recent British drama.
David Thacker’s award-winning experience as resident director of the RSC proves invaluable in this potentially exhilarating, accessible, although overlong, production of one of Shakespeare’s most popular plays.
All too often, family dramas set in wartime Britain overdo the tragedy or the never say die Blitz spirit, or both.
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