Witch-Hunt draws on the story of Anna Goldi, who was executed in Switzerland in 1782 after allegations of witchcraft.
From the outset of this lively and intelligent production, Harper Lee’s world bursts into life on the bare stage when the cast draw in chalk an outline of the streets of this bustling southern town, bringing it to vivid and exuberant life.
After a career as an actor and scriptwriter, New Yorker Ayad Akhtar turned to playwriting and his debut, which premiered in Chicago in 2012, was a huge success.
The concluding production in the Crucible’s Sheffield Season, a revival of Alan Bennett’s celebrated play, makes a fitting companion piece to the first, Simon Beaufoy’s The Full Monty - two groups of men searching for a way up and out.
Zero is a tragedy in five acts, a meditation on the weather, moods, passions and desires and a show which puts live blues/jazz music in counterpoint with convulsive, choreographed bodies.
Southwark Playhouse has moved to a temporary new home between Elephant and Castle and Borough - a deceptively nondescript shop front that opens up into a shabby chic, industrial bar and two stonking new theatre spaces.
Audiences have come to expect the earth from director Yaron Lifschitz and his Circa ensemble, and in this world premiere of Beyond he gives them the moon as well.
When The Book of Mormon landed in the West End, its mix of profanity and warmth came as a surprise to some - but not to those who had enjoyed the same mix in Robert Lopez’s earlier work, which now receives a rapturous, self-assured fringe debut.
The return of Sylvie Guillem’s triple bill of contemporary work to Sadler’s Wells two years after its premiere confirms her enduring appeal and undiminished talent.
In August, Alan Ayckbourn, who turned 74 last month, will premiere not one but three new plays at Scarborough’s Stephen Joseph Theatre - the theatre that has been his theatrical home for most of his career, including 37 years as its artistic director.
Let’s just write some songs about coming of age in New York, the writers Salzman and Cunningham decided during rehearsals for their 2006 Off-Broadway hit I Love You Because.
Another year, another Scott Maidment headline show in the London Wonderground Spiegeltent.
This competition, now in its seventh year, was created to give musical theatre students a platform to showcase their work before graduation.
Coloured lights, dry ice and angular music are an overture to the stage filling with 18 impeccably drilled and choreographed dancers, twitching and shivering with striking liquidity.
Glyndebourne opens the summer festival season with a new production of the elegant Strauss/Hofmannsthal conceit in which preparations for a new opera seria by a young composer are rudely interrupted by the announcement that it will be played simultaneously with the frivolous entertainment provided by a commedia dell’arte troupe.
