Tara Overfield-Wilkinson’s revival of Falsettos, the Tony award-winning musical about an unconventional New York Jewish family, is a worthy and emotionally powerful production, writes our theatre critic Jo Hemmings.
Artists 4 Artists prove that they’re at the forefront of dance innovation and theatrical talent, with their double bill of Christopher Reyes’ Sean and Kloé Dean’s Man Up at the Laban Theatre.
Louise Orwin’s latest one-woman show, Oh Yes Oh No, tackles the issue of consent, coercion and female erotic desire in the context of the #MeToo movement.
Jasmine Lee-Jones’ debut play at the Royal Court Theatre is provocatively titled, but perfectly pitched, writes our arts contributor Samantha-Louise Hayden.
Caryl Phillip’s Strange Fruit is a story of anxiety interwoven with anger – a domestic tightrope where language fails to bridge the gap between generations, writes our arts contributor Yosola Olorunshola.
Cordelia Lynn and Rebecca Frecknall’s version of Chekhov’s classic, Three Sisters, offers a fresh and modern take on the tale of three siblings yearning for a better life in Moscow.
The National Theatre’s latest adaptation of Andrea Levy’s novel, Small Island, offers a powerful and poignant exploration of identity, home and belonging.
A dinner party brings together five iconic female figures from history and myth in Caryl Churchill’s famous play, Top Girls. Our arts contributor, Jo Hemmings, reviews the National Theatre’s latest revival of Churchill’s feminist classic.
Memory, loss and migration are all explored in Tara Fatehi Irani’s beautifully evocative work, Mishandled Archive. Here, Hannah Hutchings-Georgiou reflects on Fatehi Irani’s ongoing project and her “mishandling” of ancestral archives.
With a stellar cast and a who’s who in US politics, Anne Washburn’s Shipwreck is the perfect play to explore Trump’s presidency in the era of entertainment by news.
