Theatre review: Ghosts

Ghosts is probably my favourite Ibsen play and one of the most frequently-produced; both things may or may not be connected to it being comparatively short. In fact while watching Kwame Owusu's production at Jermyn Street I did think maybe I could do with a break from it for a while as I'm a bit too familiar with every beat of the story to be surprised by any of it, although as with Shakespeare there's always the chance to see what particular angle each production will take. In this case the overwhelming feeling is one of sickness, of an atmosphere as steeped in disease as a Southern Rail service at rush hour. And not just because this is The Congenital Syphilis Play. Oswald (Joe Pitts) has returned from art school in Paris to his family's remote Norwegian home for the tenth anniversary of his father's death, to be marked with the opening of an orphanage in his honour.

Theatre review: Troilus and Cressida(Shakespeare's Globe)

If Hamlet's most famous question is asked by the title character, Troilus and Cressida's is asked by the audience, shortly after the play ends with the playwright bestowing a wish for sickness upon them: Will, u OK hun? Owen Horsley makes his Globe debut directing Shakespeare's most misanthropic, uncategorisable play, that uneasily mixes broad comedy with imagery soaked in disease, disappointment and decay. Taking The Iliad as its starting point, the play opens seven years into the Trojan War, with a stalemate exacerbated by the Greeks' indestructible warrior Achilles (David Caves) disillusioned and refusing to fight, instead staying in his tent with his demon twink boyfriend Patroclus (Tadeo Martinez.) When the Trojans' best fighter Hector (Oliver Alvin-Wilson) challenges the Greeks to send their own best against him, Ulysses (Jodie McNee) sees an opportunity to trick Achilles into rejoining the war.

Theatre review: All of Us

All of Us opens with a neat little reverse: Two women sit opposite each other, Jess (Francesca Martinez) needing some help to get to her chair because she has Cerebral Palsy, Rita (Lucy Briers) apologising for being late and taking out a pad to take notes on the session. But Jess isn't the patient, she's the therapist, who's making slow but steady progress with Rita's OCD. Martinez is probably most recognisable as a comedian but here doubles as writer and star of a tragicomic play tearing into the last 12 years of austerity cuts to vital benefits, particularly to people with disabilities. Jess is busy, productive and independent in everything except her own body, whose "wobbly" nature means she needs help from flatmate Lottie (Crystal Condie) and care assistant Nadia (Wanda Opalinska) to dress herself and cook.

Theatre review: Wars of the Roses (RSC / RST)

I'm back in Stratford-upon-Avon for the Empire Strikes Back of Shakespeare's York v Lancaster trilogy: Originally titled Richard, Duke of York, most commonly (and confusingly) known as Henry VI Part 3, the RSC have opted for the blindingly obvious title that both Shakespeare and the First Folio editors managed to miss, Wars of the Roses. Following straight on from Rebellion, the gloves are off and so are any masks hiding who's behind the threats to Henry VI's reign. The Duke of York (Oliver Alvin-Wilson) makes his challenge known, and begins to muster forces, supported by his sons Edward, later Edward IV (Ashley D Gayle,) George (Ben Hall) and Richard (Arthur Hughes.) When the "kingmaker" Warwick (Nicholas Karimi) pledges his allegiance to the Yorkist cause as well, their victory seems assured.

Theatre review: Henry VI: Rebellion (RSC / RST)

After a couple of years kept away from Stratford-upon-Avon by Miss Rona, followed by a further delay caused by Miss Eunice, it is at least apt timing that I should return to the RSC on Shakespeare's birthday. And, leading up to the end of Gregory Doran's tenure there and the conclusion of his staging the Complete Works (some exclusions apply, the amount of plays we say Shakespeare wrote may go down as well as up) that began with Richard II, the inevitable end point was the series of Henry VI plays leading up to Richard III. The play usually known as Henry VI Part 1 is probably Shakespeare's least-loved work and the company must have been dreading having to convince people to come see it, so they used the excuse of lockdown to present it as a streamed rehearsed reading, aka Let's Not Stage It And Say We Did. Which does have the added advantage of being able to skip ahead and present a trilogy of plays that were actually intended as such.

Theatre review: The Doctor

When an Artistic Director leaves their theatre, their final production is generally made a big deal of. Less so in the slightly more nebulous role of Associate Director, but Robert Icke’s time at the Almeida has seen him shoot up to superstar director status, so his last time in this particular role has been worthy of much comment. As with many of his biggest hits at this theatre, The Doctor sees Icke do his own radical rewrite of a European classic, and after more famous works like the Oresteia, Mary Stuart and Uncle Vanya, he bows out with a more obscure work, Arthur Schnitzler’s Professor Bernhardi. It’s not one I’d heard of before but apparently it’s a classic clash between science and medicine, Christian and Jew; in Icke’s hands it becomes a clash between much more – and so much more than we can even see. Ruth Wolff (Juliet Stevenson) is founder and head of a private hospital specialising in dementia research, and a familiar figure from medical dramas – the brilliant but not-particularly-likeable, abrupt and no-nonsense surgeon.

Theatre review: Genesis Inc.

Marking the 40th anniversary of the first test tube baby, Hampstead Theatre stages Genesis Inc., Jemma Kennedy’s satire of the monetisation of reproduction. The tangled plot follows two couples whose experience of the titular IVF clinic throws them together in unexpected ways: Bridget (Laura Howard) is an ambitious financier who’s had her eggs frozen there in case she wants a baby in the future, and overhears that Harry Enfield’s intermittently South African Dr Marshall wants to float the company on the stock market; she decides to pitch to represent him. Meanwhile her best friend Miles (Arthur Darvill) is a gay, Jewish music teacher who’s just got a job in a Catholic boys’ school, and has gone partly back into the closet in the belief that it’ll help him keep his job. Bridget is bearding for him, but with the fertility clinic on her mind, she wonders if the time has come for her to have a baby, and whether instead of an anonymous sperm donor she should ask Miles.

Theatre review: Nine Night

Actor Natasha Gordon’s accomplished first play Nine Night takes its name from a Jamaican funeral custom: The wake takes place over nine nights, with a series of boisterous parties in honour of the deceased; on the final night their spirit is encouraged to move on. In another case of a play arriving at a time that makes it accidentally topical, we’re in the house of a woman from the Windrush generation, Gloria, who’s just died of cancer. Nine Night is an ensemble piece but at the heart of it is Gloria’s younger daughter Lorraine (Franc Ashman,) who took voluntary redundancy to care for her mother during her final months, and has now been left in charge of the funeral arrangements, and of keeping up with the food and drink demands of a regular stream of guests. We only hear the parties in the background; the action takes place in the kitchen, still done up in 1970s style (set design by Rajha Shakiry.)

Theatre review: The Twilight Zone

There is a fifth dimension, beyond that which is known to man. It is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man's fears and the summit of his knowledge. This is the dimension of imagination. It’s quite camp there, actually.

There’s definitely something that feels seasonal about the Almeida’s latest show, although it’s hard to put my finger on quite why; maybe it’s not Christmassy as such but there’s something apt about cold days and long nights welcoming The Twilight Zone. Anne Washburn’s is the first stage adaptation of Rod Serling’s TV series – the 1960s original which Serling created, narrated and wrote most of the episodes of, rather than either of the revivals. In Richard Jones’ production John Marquez plays a version of Serling as well as, like the rest of the 10-strong cast, numerous other roles in a selection of stories from the original series that have been thrown together into a pleasingly disorienting show. Prior to the show opening the Almeida were being secretive about which episodes in particular were being adapted, so if you want to go in keeping that a surprise consider this a SPOILER ALERT about which stories go into the mix.

Theatre review: A Midsummer Night's Dream(Young Vic)

My first two Shakespeare productions of the year fell on consecutive nights, and while both are comedies they couldn't present more of a contrast, even before I got to their respective theatres: Where I'd been looking forward to Twelfth Night, last year saw A Midsummer Night's Dream even more overexposed than usual, so I was approaching it with some trepidation. Added to that was the publicity promising a particularly dark approach to the play, a cliché that can usually be taken as meaning "we failed to actually make it funny," and in any case the nightmare flipside of the Dream is frequently-explored territory. In the runup to a royal wedding Hermia (Jemima Rooper) and Lysander (John Dagleish,) whose love is forbidden, escape the threat of death by fleeing to the forest. They're pursued by Demetrius (Oliver Alvin-Wilson,) in love with Hermia, and Helena (Anna Madeley,) in love with Demetrius.