Partially Obstructed View

For the Almeida's last show of the year the audience enters the Stalls via the side door by the dressing rooms; as we don't then en...

One of the more baffling and dreamlike plays I've seen in a while, Cordelia Lynn's Sea Creatures seems to have a solid enough sett...

This year's second London  Henry V is a radically different beast than the Donmar's bombastic war epic , and different in fact fro...

2021 was a game of two halves in theatre, with an almost even split between the time when shows were all online, and when they started to r...

Actors writing monologues for themselves to show off both their writing and acting skills is nothing new, and no doubt many more of them wi...

Well, we can add another authentic theatre experience to the streaming equivalent: Those times a show has to be interrupted due to a techni...

The latest Tennessee Williams revival features many characteristic elements from his most famous work, but also feels like a departure tha...

Like a lot of bloggers I've been plugging the work of fringe ensemble The Faction for some years now, but recently they haven't ha...

An unusually Shakespeare-heavy start to the year continues with what's become something of a tradition: The Faction's rep season a...

Continuing what's been something of a bleak-themed 2014 at the Finborough is a look at dementia and mortality in Kevin Kautzman's ...

With a great deal of attention - deservedly - focused on the main house , Southwark Playhouse haven't allowed their studio space to ge...

American Playwright Bekah Brunstetter's new sci-fi comedy Nothing is the End of the World (Except for the End of the World)  was origi...