Terrence McNally’s Master Class, a play that recreates a public teaching session by the late, great opera star Maria Callas, first came to the West End’s Queen’s Theatre in 1997, after its Tony-winning triumph on Broadway the year before.
Before his huge West End success with the musical Matilda, Dennis Kelly’s most popular play was DNA, first performed at the National Theatre’s Connections youth theatre festival in 2007.
Stefan Golaszewski is perhaps best known for his BBC3 relationship sitcom Him & Her, a modern hymn to youthful monogamy.
Howard Brenton’s play about the lives and loves of Shelley and his circle is as much about failed utopianism as it is about poetry.
What a pleasure it is to encounter that rare thing - an original British rock musical by a fresh composing voice, not based on a film and/or comprising old hits.
There are some playful moments in Asia Osborne’s Romeo and Juliet but ultimately this is very much a bare bones production that relies on performances rather than any particular visual stimulus.
The complex tangle of Irish republicanism sets the ideological and moral compass for this unashamedly macho new play by former IRA prisoner and blanket protester Sam Millar.
The impressive Shakespeare at the Rose Theatre Bankside continues.
In these straitened times, a new production of Hansel and Gretel seems an appropriate step for Scottish Opera, with its theme of downtrodden poverty grasping at untold promises.
Puccini’s La Fanciulla del West, literally the girl of the West, is one of his greatest operas, denied a place among his most well-known purely because it has no stand-alone pot-boilers such as Vissi d’arte or Che gelida manina.
If dance can be defined as living sculpture, the three-dimensional static art of the one and the choreographic architecture of the other are natural bedfellows.
Ibsen’s Nora Helmer is a woman up against it.
There’s much to like in Jane Moriarty’s dastardly production of Ayn Rand’s melodramatic courtroom saga, Night of January 16th.
Posters paper the walls, tapes lie scattered about and boardgames nestle beneath the bed in Luke and Andy’s bedroom.
An air of lunacy permeates Middleton and Rowley’s play.
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