‘I have never enjoyed a single opera I have ever seen’: JN Benjamin writes on English National Opera and the Unicorn’s production of Dido for young audiences.
“We’re not asking the audience not to see the colour of their skin – we are specifically asking them to look at it” – Miranda Cromwell, Marianne Elliott and Wendell Pierce discuss the impact of casting black actors in Miller’s play.
‘The actors flounder about in the bagginess of the space’: JN Benjamin writes on Ella Road’s dystopian play exploring the ethics of biotechnology.
J N Benjamin explores the ethical issues around casting unpaid ‘community’ performers alongside professional actors.
The roaring twenties: J N Benjamin writes on Arthur Miller’s suspenseful drama of an America in decline.
‘Dear Jade and Jonjo’: JN Benjamin writes a letter to the performers of Ellen McDougall and Sarah Ruhl’s experimental exploration of Elizabeth Bishop and Robert Lowell’s epistolary friendship.
Who runs this house? Danai Gurira’s play is a brilliant exploration of the clashes between cultural traditions and colonial influences.
“The change is small but the difference is mighty” – J N Benjamin writes on how Misty was transformed in the hands of Arinzé Kene’s female understudy, Kibong Tanji.
Excruciating silences: Peter Brook’s drama is an exercise in painfully slow abstraction.
The beauty of brotherhood: J N Benjamin reviews the stage adaptation of Chigozie Obioma‘s novel.
Ebullient vitality and energy: J.N. Benjamin reviews Mufaro Makubika’s Nottingham-set play.
Defiance is at the heart of its genius: J.N. Benjamin reviews the National Theatre transfer of Branden Jacobs-Jenkins’s play.
Apollo and Dionysus: Alfred Molina is exceptional as Mark Rothko in the London return of John Logan’s two-hander.