Restoring the balance: James Macdonald revives this classic Congreve with wit and wariness.
Honouring the past: Brendan Macdonald reviews Matthew Lopez’s two-part play inspired by E. M. Forster
A passionless adaptation: this new version of Manuel Puig’s story finds neither potency nor 21st century relevance.
Around the block: collaborative company Kandinsky’s new show is an intelligent history of housing.
NO FUTURE: Brendan Macdonald reviews Chris Goode’s stage version of Derek Jarman’s Jubilee
The profound absurdity of identity: Told By An Idiot’s new show makes Napoleon feel very British.
The myth of childhood innocence: Brendan Macdonald reviews Monica Dolan’s monologue about a mother giving her child what she thinks she wants.
Roots and routes: Brendan Macdonald reviews Tarell Alvin McCraney’s play about identity, freedom, and brotherhood.
A talent for unearthing character interiority: Brendan Macdonald reviews Caroline Byrne’s take on Bertram and Helena’s sort-of love story.
Then and now: Ann Deavere Smith’s verbatim piece uses the past to interrogate the present.
Brash and arresting, profane and profound: Brendan Macdonald reviews a revival of Steven Berkoff’s East End play.
And other back-page freak accidents… Brendan Macdonald reviews a revival of Abi Morgan’s 2001 play about causality and the past.
“A Victor Hugo musical? It’ll never work.” Brendan Macdonald reviews the London transfer of The Grinning Man.
Fate, will and loss: Brendan Macdonald reviews the staging of a lesser known work by J. M. Barrie.
Evocative and alienating: Deafinitely Theatre’s production of a brutal workplace drama opens New Diorama’s new performance space.