Theatre review: The Woods

It might be long past time to add David Mamet to the pile of theatre creatives life's honestly way too short to be doing with: The Woods may be one of those rare shows that comes in slightly under the advertised running time, but it feels about twice as long. Dating from 1977, it's one of the battle-of-the-sexes plays Mamet really should have realised aren't his forte by now, and sees young couple Nick (Sam Frenchum) and Ruth (Francesca Carpanini) take a break at the remote cabin Nick inherited from his family. City girl Ruth is charmed and endlessly fascinated by the rural setting but Nick, who spent a lot of time at the cabin as a child, seems to associate the place with bad memories and be frightened of almost everything about the surrounding woods and lakes, to the point that you have to wonder why he ever agreed to return there in the first place. What he's probably really afraid of is being with his girlfriend in a place with no distractions, and having to confront what his actual feelings are.

Theatre review: Run The Beast Down

I suppose if you stage as many shows as the Finborough does, themes will start to emerge in the programming, whether intentionally or not - I'm guessing "the theatre that stages plays with menacingly symbolic foxes" isn't a tagline they'll be putting on the posters, but after Foxfinder and We Know Where You Live there's a sense of déjà vu when the animals turn up again in Run The Beast Down. Director-turned-writer Titas Halder offers up a long monologue for Charlie (Ben Aldridge,) an obnoxious city trader and hipster who, in the opening scene, loses his job and his girlfriend in quick succession. In seven chapters told out of chronological order, he tells us about how things started to fall apart both at work and in his relationship; and once he's stuck at home with nothing to do, his breakdown takes the form of an obsession with the foxes screaming outside at night.

Theatre review: Allegro

Much as I have issues with Richard Rodgers and Oscar Hammerstein II - mainly to do with the varied and jaw-dropping ways they find to be offensive, and the fact that "Some Enchanted Evening" on a loop for three hours doesn't constitute a musical - there's no denying the position they occupy in American musical theatre - essentially regarded as its creators - and the love for them worldwide. So the fact that one of their shows has never actually been staged in the UK before has to make you wonder why, while still being fascinated to find out what it's actually like. Their third collaboration after big hits Oklahoma and Carousel, Allegro tanked on Broadway in 1947 but Southwark Playhouse's perennial re-interpreter of classic musicals, Thom Southerland, and his choreographer Lee Proud throw everything at this attempt to make sense of the story of Joseph Taylor Jr (Gary Tushaw,) a talented small-town doctor who's disillusioned when he takes a high-paying job in a big city.

Theatre review: The Dead Monkey

Apparently Nick Darke's The Dead Monkey is regularly revived internationally, but it's not a play I'd heard of before. Set in 1970s California, Hank (James Lance) and Dolores (Ruth Gibson) have been married 15 years, living in a tatty little beach house. Hank's wages as a travelling salesman don't stretch too far, especially as he has an insatiably hungry and disruptive pet monkey to feed. As the play opens, the monkey has died while Hank was away, and Dolores is trying to figure out how to break the news to him. It seems at first that their marriage will survive the loss of its unusual third member, especially when they get a Macedonian curly piglet called Dogduck to replace it. But this is clearly a destructive relationship and the more they try to pretend it isn't, the closer they come to things getting really ugly.

Theatre review: Shrapnel - 34 Fragments of a Massacre

Anders Lustgarten can be something of a blunt instrument as a writer, a political playwright whose work is fuelled by anger - sometimes to its advantage, other times to its detriment. There's a slightly different approach in his latest play, though: The anger is still there in Shrapnel - 34 Fragments of a Massacre, but instead of something fiery he lets it seethe, as he observes from a distance the different situations and interests that conspired to cause the 2011 Roboski Massacre in Turkey. A group of Kurdish men, mostly teenagers, regularly smuggled diesel near the Syrian border. Despite knowing that such smuggling missions were common, the Turkish army seemingly mistook them for a terrorist cell on the move, and authorised a US missile drone to open fire and effectively vaporise them.

Theatre review: The One

Ian had just turned the conversation - I'll leave you to guess if there was a gleeful tone to his voice - to the early closure of Andrew Lloyd Webber's latest musical, when the house lights went down and "Music of the Night" started to play. The love song from Phantom recurs over the next 75 minutes as the backdrop to another unhealthy relationship in Vicky Jones' The One. University lecturer Harry (Rufus Wright) and his long-term girlfriend - originally his student - Jo (Phoebe Waller-Bridge) are staying up throughout the night, waiting for news of Jo's sister, who's gone into labour. Prompted by a late-night visitor, the couple confront each other and their relationship, revealing it to be a viciously antagonistic one that seems to thrive on them permanently goading each other into obnoxious behaviour, and with a sexual power play that's uncomfortable to watch.

Theatre review: Shivered

The second in this year's Philip Ridley-fest (so far, four of his plays are in, or will be coming to, London,) and after a revival of his first play it's the premiere of his latest work, Shivered. Straying for once from the East End, Ridley takes us to an Essex new-town, built largely to accommodate a Japanese car manufacturer, who then upped sticks a couple of years later. Two families form the core of the story: Lyn (Olivia Poulet) and Mikey (Simon Lenagan) whose grown-up son Alec (Robbie Jarvis) is in the Army, and whose younger son Ryan (Joseph Drake) was born with a deformity they blame on the car plant; and morbidly obese single mother Evie (Amanda Daniels,) a phoney psychic whose son Jack (Josh Williams) is regularly, viciously beaten by a gang of local bullies. The families are linked by the friendship between the two 12-year-olds, and by Gordy (Andrew Hawley,) a charismatic fairground worker with a thing for older women.