There’s nothing much to like about the people in Daniel Anderson’s strident debut Saxon Court and it nearly drowns under the weight of its own unpleasantness.
During the first of five essays on the voice and radio, recorded in October at London’s British Academy, actor and director Samuel West discusses how unforgiving a medium radio is.
The Gate Theatre’s Who Does She Think She Is? season continues with Suli Holum and Deborah Stein’s cerebral solo show, which premiered at the 2012 Under the Radar Festival in New York.
The hard-working Hotbuckle Productions is on an extensive tour with Persuasion but few venues could be more suitable than Great Yarmouth’s St George’s Theatre, a magnificent Wren-style 18th century chapel which adds so greatly to the atmosphere.
Wendy without Michael and John? Mr Darling without Mrs? Cross-dressing mermaids? One might consider all of this sacrilegious but it could not be more of a salute to JM Barrie’s endearing story.
Given that Morgan Lloyd Malcolm’s playwriting credits include a clutch of Lyric Hammersmith pantomimes, her new stage version of Lewis Carroll’s mad-as-a-hatter tale might be expected to re-locate 1860s Wonderland in Pantoland.
One of Samuel Beckett’s earlier novellas, First Love was originally written in 1946 but remained unpublished until 1973.
To a libretto by Peter Sellars based on the Old Testament, the New Testament, the medieval abbess Hildegard of Bingen and the writings of half a dozen politically active and mainly female 20th-century poets, John Adams’ passion oratorio premiered in concert in Los Angeles in 2012.
This spare and original resetting of Cinderella to Mousetown, where characters lend each other a paw, oozes charm and humour, as well as highlighting the talents of two highly accomplished puppeteers.
With this new version of Sophocles’ lesser-known tragedy Philoctetes, the Yard continues to establish itself as a home for bold and imaginative work.
The latest episode in this venue’s current programme of work on the theme of revolution and resistance is a story about a rebellion of primary school children - and it features a cast which includes 15 eight to 10-year-olds.
The quarterback of the Hoke’s Bluff American football team has one shot to seize the day - one more throw of the dice, one more ‘play’.
The dwindling numbers of audience members returning to their seats after parts one and two of Rambert’s triple bill, speaks volumes.
The shabby was too chic for some when Dublin’s Abbey Theatre (in a 2011 co-production with the National) evoked the city’s 1920s tenements with glistening, painterly effects.
David Hare delivers an impressive dramatic reconstruction of Katherine Boo’s painstakingly detailed account of life in a Mumbai slum where hordes of families jostle for a living, either by collecting bits of discarded plastic or metal or (far more lucratively) using the system of an increasingly prosperous, modernising nation to siphon off grants.