Tangled roots: J N Benjamin writes on Roy Williams and Clint Dyer’s exploration of working class culture.
‘Political theatre at its finest’: JN Benjamin writes on Samuel Bailey’s exploration of empathy, set in a young offenders’ institution.
Men of magnitude: J N Benjamin writes on Athol Fugard’s semi-autobiographical story of prejudice in a failing South African tea room.
A cryptic racism: J N Benjamin writes on Branden Jacobs-Jenkins’ haunting story, set on a cicada-ridden plantation.
A mighty body quake: J N Benjamin writes on Okwui Okpokwasili’s pulsating experimental dance piece.
Rebekah Murrell is directing J’Ouvert, a tale of carnival culture at Theatre503. Here, she talks unconventional career paths, ticket prices, and the renaissance in Black theatre.
“A snapshot of life”: J N Benjamin writes on August Wilson’s multi-faceted interrogation of Black American life in 1985 Pittsburgh.
‘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.