After a chequered production history that began at the Lyric in Belfast in 2010, Molly Wobbly has finally made it to the West End.
This is the third incarnation of Amelia Bullmore’s bittersweet play.
Inspired by the real race-hate experience of a Zimbabwean family hounded out of a Merseyside estate, writer Keith Saha explores cultural territory that contemporary playwrights rarely tread - Britain’s inward-looking white working class enclaves where entire communities have slid off the economic radar and become stuck in a social housing limbo.
It was the National Theatre (then at the Old Vic) that gave the London premiere of Stoppard’s Rosencrantz and Guildenstern are Dead in 1967, eight months after it debuted at the Edinburgh Fringe.
“How do you know you’re God?”‚ Jack, the 14th Earl of Gurney, is asked.
A truly dynamic graduation showcase from the students at the Royal Conservatoire of Scotland, highlighting the value of quadruple-threat talent.
Some three decades on and John Godber’s Bouncers still has a relevance and power despite its specifically 1980s setting.
New dance in the past decade has been dominated by choreographers who mix styles, with, for example, Russell Maliphant splicing ballet, modern dance and capoeira, Hofesh Shechter combining middle eastern forms with contemporary moves, and Akram Khan and Sidi Larbi Cherkaoui synthesising Indian kathak with European street dance.
This adaptation of a play originally performed by Ajoka Theatre in Pakistan deals with an important, timely subject: the beginnings of the philosophical differences within Islam.
Following sell-out performances at both the Edinburgh and Brighton festivals in 2013, then a brief stint at the King’s Head last year, Between returns to the venue for this limited run.
Modern theatre can have a lot of glitzy embellishments: spectacular lighting displays, moving sets, moments of dazzling audio-visual enhancement, explosions, dry ice, trap doors and all sorts of slick tricks which can wow an audience.
Peter Souter’s would-be romantic comedy does itself no favours.
Mark Hayhurst’s fascinating and intelligent play - which premiered in Chichester in October - makes a smooth transition into the West End.
Aside from an incongruous mix of props such as a laptop, 35mm slide projector and a paper model of Shakespeare’s Globe, as well as a few subtle script changes, there is little to fault in Sonning’s production of Educating Rita.
Blackeyed Theatre, known for its acclaimed, challenging productions, has produced some great stuff in the past 10 years as one of Berkshire’s premier mid-scale touring companies.