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?
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 […]
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.
*Originally published by A Younger Theatre* School Play, by Alex Mackeith, is at its best when the dialogue […]
A farce on animal rights activists and cannabis set on a frog farm, Raising Martha lacks the through line to bring its grand themes together with the slapstick comedy. Features murderous human sized frogs and a Jeremy Corbyn look-a-like weed grower.
This short play feels fleeting in the way it handles a damaging relationship. But there’s something in its theme of salvation that I particularly enjoyed.
Ruth Wilson is electric in this sexy and witty version of Hedda Gabler at the National Theatre. But the anachronisms and some odd staging choices let the production down.