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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Trans Trans Trance is a scream in the face of bigotry and hatred, deftly performed as part of Vilnius Takes Over at east-London inter-arts venue Rich Mix
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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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The spirit of Harold Pinter marches on in ‘Pinter Four’, which poignantly captures both his talent for humour and his abstract insight into our domestic relationships .
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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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★★★★☆ // KDC present SHE and Stiff, a solid and engrossing double bill of fringe theatre sustained by slick and committed acting
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★★★☆☆ // Despite a promising set-up, the RSC’s latest production of Romeo and Juliet struggles to deliver the cutting social commentary it initially promises.
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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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The importance of the story outstrips the deftness of its telling in Forgotten 遗忘, Daniel York Loh’s tale of the rarely-remembered Chinese Labour Corps.
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