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.
“Smart, sharp and exhilarating”: Brendan Macdonald reviews Thomas Eccleshare’s thrillingly tricksy two-hander about the stories behind the stories.
Wartime ennui: Brendan Macdonald reviews a stage adaptation of Patrick Hamilton’s novel.
“An intriguing, cerebral and destabilizing piece of theatre”: Brendan Macdonald on Vicky Featherstone’s production of Chris Thorpe’s bold new two-hander.
“Reliably unreliable”: Brendan Macdonald reviews Florian Zeller’s knotty study of truth and lies.
“Le Grand Mort feels like the most petite of gestures”: Brendan Macdonald on a disappointing dinner party-based vehicle for Julian Clary.