A Very Expensive Poison and Hansard: sets that make or break
Two new plays, at the Old Vic and the National Theatre, both have incredible assets – but their set designs are…
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“When I write, I’m visited by a higher self“: Kate Tempest on poetry, performance and South London pubs
“Do you know what the secret to making good ginger tea is?” In the bar of a central London hotel,…
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Saying goodbye to Fleabag
When Phoebe Waller-Bridge first took to her stool to perform Fleabag at the 2013 Edinburgh Fringe, no one thought we’d end…
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Matthew Bourne’s Romeo and Juliet: intimate, raucous and wild
Romeo and Juliet is, of course, a story about love. But it’s also a story of teenage angst. Two young…
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“Everything that follows is true”: how verbatim theatre questions the meaning of truth
In Miracle Village, a community for convicted sex offenders in rural Florida, five men sit in a therapy class, and…
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At Edinburgh, bodies take centre stage
A young woman is hanging from the ceiling, a rope criss-crossed around her topless form, her hair flailing. Everything I…
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Tree at the Young Vic: a self-aware but superficial exploration of African heritage
The evening started well. For Tree, the “immersive theatre experience” crafted out of Idris Elba’s 2014 concept album Mi Mandela, the Young…
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Il Segreto di Susanna / Iolanta at Opera Holland Park: a sublime night
Wolf-Ferrari’s slyly witty Il Segreto di Susanna of 1909 and Tchaikovsky’s heartfelt and ultimately epic Iolanta (1891) make very odd…
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