Richard II opens in a big grey box. It is Richard’s prison cell, flanked by gun-metal grey walls and grated floors, filled with muted tones, buckets, and emptiness. Richard opens with a monologue duplicated from its original home later in the play, and it’s the clear genesis of the key idea behind the production: a…
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Compelling, confusing, and angry in equal parts, Super Duper Close Up explores image and self-image with wonderfully messy incision.
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Dead Centre cut savagely to the heart of a confused original script in their radically reworked adaptation of Chekhov’s First Play
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Despite struggling to make a more serious connection, CHUTNEY still milks an impressively high standard of comedy from the touchy subject of violent pet murder.
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Farcical, satirical, jarring, and absurd: Moot Moot returns to The Yard to induct you into the weirdest radio show you’ll never hear,
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Nine of the weirdest, most exciting shows opening in London this November, as chosen by our Theatre Editor.
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David Hare’s latest play “I’m Not Running” lacks his characteristic wit, instead subjecting its audience to a dull and confused evening of fantasy politics.
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The Malady of Death, Alice Birch and Katie Mitchell’s arresting new piece of Live Cinema, arrives at the Barbican and leaves a striking impression.
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Nine of the weirdest, most exciting shows opening in London this October, as chosen by our Theatre Editor.
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Spiders isn’t perfect. Spiders isn’t completed – I hope. Instead, it’s peak fringe theatre: rough, vital, compelling, effective.
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