Queen’s opens its autumn season with a European premiere, resurrecting a seemingly forgotten musical murder-mystery, which started life as an Off-Broadway hit.
A series of couples have conversations at the wheel of a car in this exploration of relationships, dialogue and unspoken emotions.
Richard Bean is as ubiquitous in UK theatre as beans on toast.
After a stint at this year’s Glastonbury Festival, the boys from Brisbane return to the London Wonderground with their own particular blend of big-top vaudeville.
This powerful new play by Chris MacDonald tackles the provocative subject of immigration and a department floundering under the weight of political and media pressure, lack of resources and outdated guidelines.
The Tree is a love story about a young Muslim girl and her Serbian neighbour set against the backdrop of the Bosnian War.
Rough-hewn and powerful, the National Theatre of Scotland takes Joe Corrie’s great cry of pain on behalf of working men and their families, and places it firmly in the community from whence it came.
If eyes are the window to the soul, Elena’s are as revealing to passers-by as a dormer tilted unhelpfully towards the skies.
Pitcairn is the middle of three new shows, all by Richard Bean, that are being presented across a little over three months, in between the surprise late June premiere of Great Britain at the National (a play that was only announced five days before it opened and is now transferring to the Haymarket) and Made in Dagenham, a new musical coming to the West End’s Adelphi in October.
Everyone ends up transformed in this show, which is why it brims with the feel-good factor.
With the sad implosion of summer over this recent bank holiday, this vibrant staging of Noel Coward’s Hay Fever, with its scenario of being trapped in a country property with a demented family, couldn’t have been better timed.
Fire destroyed the first Globe Theatre in 1613.
Given that The Boy Who Climbed Out of His Face is an immersive experience and, as such, contains many elements of surprise, it is a challenge to articulate an opinion while maintaining the sense of mystery.
Following previous renditions of this successful parody series, including last year’s critically acclaimed Ha Ha Holmes!, Ha Ha Hood and The Prince of Leaves provides a welcome escape from reality.
Nabokov’s 1955 masterpiece finds curious echoes in today’s mass media climate of stories of historical sex abuses.