The most problematic stuff about this little play was the white saviour narrative. Literally the whole story was just this reallllllllly minted guy trying to “fundamentally change the culture” of the USA by hosting little chit chats at the locations of mass shootings.
Well everyone already said it. But here I am. Here to say it all again.
Billie Piper is OUTSTANDING. Like. Beyond words incredible.
Road is a play loaded with despair and ecstasy. Brimming with disco and ballet and country and soul, it transcends its opening character profiles and monologues to become a slaying inditement of the pressures of life under conservatism and a celebration of the release the era’s music brings.
Are you happy? This play asks. Once from the precocious voice of a young girl at her birthday party. But it’s implicit continually. Are you happy? Are you happy? Are you happy?
Hermione and Polixenes are King Leontes’ puppets in a beautifully choreographed opening to Cheek by Jowl’s The Winter’s Tale. The […]
Canadian playwright Jordan Tannahill puts together two things in Late Company that should never mix: dinner parties and grief.
Jez Butterworth’s brilliance is found somewhere in the way that he sets up conflict – a sense of […]
That the family business at the centre of this play is a rubber shop makes for some great gags […]
From a typically quizzical perspective, Tom Stoppard’s 1974 play Travesties presents the memories and fantasies of an amnesiac elderly man named Henry Carr. Tom Hollander (The Night Manager, Rev) gives the lead character a soft-hearted and generous demeanour to match his risible love for a well-cut suit.
A hymn to the labors of sisterhood and the collective efforts of love, The Swarm sits somewhere between a choral concert with physical movement sequences, and a bare stage modern opera without a story but a clear emotional ark.