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Angry is an anthology of monologues by Philip Ridley, perhaps Britain’s most distinctive living playwright.
In 1958, The Birthday Party was so widely panned it closed after eight performances. Sixty years later, enjoying one of the starriest revivals in the West End.
Yous Two is Georgia Christou’s first play and, crucially, the first Hampstead Downstairs play to be open for press reviews. It is a great choice.
In this part of the world there is a Dry season – during which I’m visiting – and a Wet season so severe that cyclones are regular visitors…
This controversial Andrea Dunbar revival could easily have been unwatchable in the current climate, but on the whole it has a surprising lightness of tone.
In this directorial debut by BAFTA-winning City of God editor Daniel Rezende, a struggling soft-porn actor finds new life as a clown.
James Fritz’s new play is bold, fresh and acutely observed – but also an incredibly uncomfortable theatrical experience.
Bad Roads – a form of oral history about the ongoing war in Ukraine – is a political act, documenting a shocking reality in a conflict characterized by fakery.
I must admit I am a big crier at the theatre, but Streetlights, People! Productions’ take on Adam Gwon’s 2009 Off-Broadway sleeper hit deserved every tear that was shed.
I was kneeling handcuffed on the floor of a church in a knitted red balaclava – not my average Thursday evening by a long shot.
Emi Howell’s play, about the British-Iranian charity worker currently imprisoned in Iran, is political theatre at its best.
Too much misery toughens the heart, whereas the best art softens it. Jeannette Walls’s The Glass Castle is art of the latter kind.
Lola Arias’s melancholic study of the Falklands War is a strange and poignant show about war and memory.
Second-time playwright Sharon Raizada takes a good marriage, puts it in a carriage with no seat belts and pushes it down the London rollercoaster.
My first memory of Ecuador was the expansive hills which soared hundreds of feet above us on either side and followed us along the road after we left the airport.
Two plays in nightly rep wrestle with radicalism and violence.
Terry Johnson’s portrait of legendary British cinematographer Jack Cardiff is a lovely tale of decline and twilight without an ounce of doom.