Theatre review: King John (RSC / Swan)

In a theatrical landscape experimenting excitedly with gender-flipped, gender-blind and gender-neutral casting, it's good for a company to find its own niche, although the RSC's take seems to be an eccentric one: Casting women in male title roles, but largely going with the ones male actors weren't in any particular hurry to play in the first place. So a couple of years ago there was a female Cymbeline, and now the unloved - both in-universe and within the canon - King John, as Rosie Sheehy takes the nominal lead in Eleanor Rhode's production. John - the gender-flipped characters are largely given dresses in Max Johns' design but the pronouns stick to what Shakespeare wrote - has inherited the throne from his much more popular brother Richard the Lionheart, along with the usual convoluted politics with England and France fighting over claims to each other's kingdom.

Theatre review: Cougar

Rose Lewenstein's strange and sexy Cougar puts a luxury hotel room on the Orange Tree's in-the-round stage, a single set that stands in for dozens of identical rooms around the world. The first one is in London where Leila (Charlotte Randle) has been speaking at a conference. One of her colleagues made an aggressive pass at her in the hotel bar afterwards, and barman John (Mike Noble) came to her defence, hitting him with an ice bucket and losing his job in the process. Leila's taken a room in the hotel and brings John back to it for the night - nothing happens between them but they both want it to, so she proposes a deal: She'll pay for him to come with her on her many international business trips, have sex with her at night and see the world during the day while she's at work. But as soon as they get through customs they're strangers again, and John has to promise not to fall in love.

Theatre review: Yerma

Yerma isn't actually yer ma, she's not anybody's ma, that's the problem: Writer/director Simon Stone does a loose - very loose - adaptation of Federico García Lorca's play about a woman with a malfunctioning uterus. Relocated to present-day London, Billie Piper plays a journalist identified only as "Her," who's never had any particular wish for children until she and husband John (Brendan Cowell) buy their own house. On the night they move in they decide to try for a child after all, and ceremonially destroy her birth control pills, but as years go by and her sister Mary (Charlotte Randle) seems to have baby after baby despite no apparent wish to, Her remains childless through endless rounds of IVF. In Lorca's original, it's the whole of society judging Yerma for failing to produce a child, but in a 2016 context it becomes her own personal obsession that starts to drive her mad.

Theatre review: Medea (Almeida Theatre)

Rupert Goold concludes his hit Greek season at the Almeida by directing by far the most frequently produced of the three tragedies (the end of this run will clash with the Gate's take on it,) Euripides' Medea. For me this production has a similar effect to Simon Russell Beale graduating from Edgar to King Lear last year: The first professional role I ever saw Kate Fleetwood in was as part of the chorus to Fiona Shaw's Medea, and now it's her turn at the titular role, in one of her comparatively rare collaborations with her husband. As with Robert Icke's take on the Oresteia, Rachel Cusk's adaptation of the story of the woman who takes brutal revenge when her husband leaves her is a pretty broad re-write of the original; and while Goold's production and his cast's performances are excellent, I'm a bit less sure about how well the story changes work.

Theatre review: Deluge

Moi Tran's set for Fiona Doyle's Deluge has certainly taken the play's title literally: The traverse stage is flooded, with a raised central platform forming a kitchen area on which most of the action takes place. The front rows have been given towels because there's a lot of splashing about - I found that sitting on the left-hand audience bank from the entrance, and draping the towel over my legs and bag were enough to keep me dry, although when a chair gets chucked into the water it's every man for himself. All the water is because the play has an apocalyptic feel, with biblical levels of flooding - Ireland, where the story is set, has it pretty bad, but from what we hear America has it much worse. As more clouds gather overhead, farmer Kitty (Elaine Cassidy) is behind bars.

Theatre review: Birdland

Simon Stephens and Andrew Scott have previously collaborated to devastating effect on Sea Wall. Playwright and actor now reunite as Stephens writes a full-length play for Scott to star in, headlining Birdland as an international rock star called Paul (I did keep wondering if the character's name was a reference to Scott having played Paul McCartney in the past.) Paul is nearing the end of his second world tour, and his biggest yet. He's accompanied by his best friend and co-songwriter Johnny (Alex Price,) the one real link to his life pre-fame. But on the Russian leg of the tour Paul sleeps with Johnny's girlfriend Marnie (Yolanda Kettle,) who kills herself soon afterwards. With his friend no longer in a mental state to anchor him, Paul heads towards the home leg of the tour with his sanity steadily unraveling.

Theatre review: The Lyons

If there's an insatiable appetite for drama about dysfunctional families, The Lyons is here to feed it. Nicky Silver's off-Broadway hit comes to the Menier complete with original director Mark Brokaw, who has a new British cast to play the well-off Manhattan Jewish family. The scene is a private hospital room where Ben (Nicholas Day) has terminal cancer. He and wife Rita (Isla Blair) have known about his illness for months, but have chosen to wait until he has a matter of days left to live before springing the news on their children Lisa (Charlotte Randle) and Curtis (Tom Ellis.) Thrown into this small room together the family waste no time tearing into each other about their many long-standing grievances and disappointments. And once Ben has died we get to see what's left of the children he and Rita raised.

Theatre review: Public Enemy

The Young Vic's reinvention of classic texts continues, and after a big hit with A Doll's House last year they turn to Ibsen again. This time though it's the team behind Government Inspector tackling the play, and as that was one of the rare shows I've left at the interval (and I wasn't even the only theatre blogger to do so) I approached Public Enemy with a bit of trepidation. Miriam Buether has once again lent a psychedelic edge to the design, fitting in with the 1970s feel director Richard Jones brings to David Harrower's translation. It's another of the wide, shallow stages Buether favours at the Young Vic, and it's not great for sightlines if you're at the front and particularly the edge of a row like we were - cricked necks are to be had. The general update from the 1880s to the 1970s works, though, and takes Ibsen's characters out of the familiar setting.

Theatre review: The King's Speech

David Seidler tried to hawk his play The King's Speech to theatre producers but attracted the attention of a film producer instead. People more up-to-date than I on news of magic lantern shows, inform me the ensuing film did "quite well," so now the original play finally gets its chance on stage; and a West End stage at that, with a strong cast. King George V (Joss "DIPLOMATIC IMMUNITY" Ackland) is nearing the end of his life, and not too thrilled about the succession. David, the future Edward VIII (Daniel Betts) is a bit of a raving Nazi and, much more importantly by the ruling classes' standards, shagging an American. Everyone except David himself seems to see the abdication crisis coming, but the trouble is the next in line is Bertie (Charles Edwards,) whose severe stammer doesn't make him the ideal person to make reassuring speeches to the nation as WWII approaches.