Sam Walters has unearthed a monumentally unfashionable old play that packs a hefty moral punch, and asks questions about the cost of personal freedom that many a liberated (post)modern would baulk at.
Director Noah Birksted-Breen shows in his use of music, puppetry, and acting with mime-like precision, a focused vision and tight control of theatrical possibilities.
The Edinburgh Fringe is a safe space where the loss of a grand or two equals a successful show and your career isn't necessarily on the line if your idea doesn't quite come off.
London Theatre Blog is pleased to present a series of seven reviews, written by director/dramaturg Jens Peters, of productions at the Marjanishvili State Drama Theatre (Tiblisi, Georgia) as part of its recent International Project. The first review is of a … Continued
The play does a great job putting the problems of today's multicultural London in perpsective, as each generation of immigrants eventually integrates into British life and then takes its turn oppressing the next.
The company are obviously talented and brimming with energy, but this patchy adaptation lacks both pathos and pace
A brisk, bright, good-humoured account of Aphra Behn's comedy about Englishmen behaving appallingly abroad.
With fewer histrionics, and greater faith in the actors’ ability to make us care, Kitty and Damnation would be a much stronger piece of theatre.
Found in the Ground isn’t calculated to accommodate the Barker novice, or anyone with a low-ish boredom threshold.
Short, sour and stinging, Slowly pits the seductive rituals of conformity against the risk and indignity of freedom.