Theatre review: The 47th

Mike Bartlett has played around with pastiche in the past, never more successfully than when King Charles III took Shakespearean themes and language and applied them to an imagined future of the British Royal family. Later this week he'll be premiering his take on Restoration Comedy, but for The 47th he returns to blank verse, also reuniting with director Rupert Goold, and Lydia Wilson on Lady Macbeth duties, although the venue changes to the much larger Old Vic, befitting a lead character who's fond of a rally: As with the previous production, most of the fictionalised characters aren't played as impressions of the real people, but Donald Trump's mannerisms are so pronounced and familiar that it would be odd not to recreate them. And after a few years of TV work where you could actually tell what his face looked like, Bertie Carvel returns to his days as a theatrical chameleon with a comic but creepily uncanny impersonation of the 45th President of the United States.

Theatre review: Allelujah!

A couple of things worth getting out of the way straight away: Alan Bennett's latest play is his best since The History Boys. Not necessarily the biggest compliment considering the reception to The Habit of Art and especially People, but if Allelujah! isn't the 84-year-old's best-ever work* it certainly doesn't disappoint. The second thing that needs saying is that underneath a hugely entertaining surface this is an unapologetically angry, political play. For all that AB has a reputation as a cosy, cuddly National Treasure who doesn't like being called a National Treasure, his work has always had this sharpness - the quintessential Englishness† of his work always tempered with anger and frustration at what he sees eroding his idea of what makes the country worth celebrating. In Allelujah! that anger is never not tangibly bubbling under the comedy and tragedy of his epic hospital story.