The pursuit of equal rights and pay by a group of east London female munitions workers during the First World War is brought to life in an informal, almost confidential setting.
Laura Warwick opens this student showcase solo with confidence and class, her gentle yet assertive soprano gradually supported by the company for the rousing Eastwick Knows, immediately highlighting the two strengths of this graduating year - character and chorus work.
A blend of physical theatre, mime, dance, music and illusion, Theatre Re’s latest work is a heady concoction - it looks like a Samuel Beckett play designed by Magritte.
Tom Morton-Smith’s engaging account of the life and legacy of the ‘father of the atomic bomb’, J Robert Oppenheimer, walks a fine line.
James MacMillan has cut a whole scene and tweaked the vocal score for this new production of his 1996 opera debut.
Adapted by Peter Straughan from the novels by Hilary Mantel, Wolf Hall is a succulent historical drama centred in and around the court of Henry VIII as he struggles to replace his first wife, Catherine of Aragon, with a younger bride who will produce a son and heir.
Considering that the Unicorn is a theatre specialising in work for under-21s (this show is billed for over-11s), a near full-length Caucasian Chalk Circle is a pretty ambitious undertaking - but it comes off.
When Bob Carlton created Return To The Forbidden Planet, it was one of the first shows specifically crafted for actor-musicians.
Filter’s previous interpretation of Shakespeare (Twelfth Night) was an iconoclastic take on a tale of romance and puritanism, that had great fun breaking down the script and diving past the fourth wall into the audience.
Jonas Kaufmann, the world’s most widely admired operatic tenor, returns to the Covent Garden stage in what is the Royal Opera’s first production of Giordano’s historical melodrama since 1985.
With just the hint of a set, but plenty of atmosphere provided by both lighting and sound as well as the building itself, this 18th-century church becomes the backdrop for a tale of how nasty people can be, even to their parents, their brothers and their sisters.
The Sam Wanamaker Playhouse, the Globe’s indoor Jacobean space, is a magical venue even when it is flecked with red, when it is tainted by madness and lust.
Caroline Horton’s latest devised piece is a bloated, grotesque and distended thing.
The Agatha Christie Theatre Company was established in 2006 and since then has successfully toured 12 productions from the author’s canon.
The follow up to last year’s acclaimed The Sound of Cinema, The Sound of Song is composer and musician Neil Brand’s three-part exploration of popular music, and all the elements - technical and artistic - that have gone into its development.