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After witnessing segregation and tribalism at the school gates, actress Félicité Du Jeu wrote Spiked to show “what mothers have in common rather than focus on their differences”.
Tony Kushner and Jeanine Tesori have written a fierce, rousing opera celebrating the Civil Rights Movement.
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.
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.
Emi Howell’s play, about the British-Iranian charity worker currently imprisoned in Iran, is political theatre at its best.
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.
Terry Johnson’s portrait of legendary British cinematographer Jack Cardiff is a lovely tale of decline and twilight without an ounce of doom.
Branden Jacobs-Jenkins’ searing satire on magazine journalism was a finalist for the 2016 Pulitzer Prize for Drama.
Hir, Taylor Mac’s raucous black comedy about small-town American values and trans politics, is both daringly subversive and very, very funny.
I saw Anatomy of a Suicide the night of the election. As it turned out, it could have described the results.
Prostitutes, Politicians, Profiteers is the first UK exhibition of George Grosz – savage lampooner of Weimar Berlin’s monstrous excess – since 1997. Lauren Van Schaik Smith went along.
Neil Bartlett’s take on Albert Camus’ seminal novel is bold and effective – even if it sacrifices some important scenes in the name of economy.
Ellie Broughton interviews US artist and filmmaker Lynn Hershman Leeson, who has two pieces on display at Ambika P3 as part of the exhibition CASEBOOKS.
The abortive Soviet designs on display are monuments to the human capacity to dream outlandishly, writes Lauren Van Schaik Smith.
John Webster’s The White Devil, writes Simon Fearn, must be one of the most cynical plays in the canon.