Theatre review: Salomé (RSC / Swan)

It's not the subtlest form of flirtation but if you ask a lady nicely she might get her cock out for you - although you might have to give her head in return. Yep, it's the story that's been striking dread into London's theatregoers but I'm not crazy enough to see the National's Salomé again - this time it's Stratford-upon-Avon and Oscar Wilde's one-act tragedy. But even this isn't quite the version Wilde imagined, although he'd probably have enjoyed watching it for a couple of reasons: The text is unchanged but director Owen Horsley is using it to mark the 50th anniversary of the decriminalisation of homosexuality. The online trailer for the show has the feel of a gentleman's specialist film, and Bretta Gerecke's designs immediately suggest a gay club, the kind that probably isn't too surprised or bothered if more than one person uses the same toilet cubicle.

Theatre review: 'Tis Pity She's A Whore

Last year Cheek By Jowl provided me with one of my favourite shows of 2011 with their Russian Tempest. And the last time I saw 'Tis Pity She's A Whore it starred Eve Best and Jude Law as the siblings who think incest makes the heart grow fonder. So on a couple of different levels this was a show that had a lot to live up to for me. John Ford's play is one of few Jacobean tragedies to have held on to much of its shock value thanks to its incestuous theme, but Declan Donnellan doesn't sit back and let this do all the work for him. Nick Ormerod's blood-red set is Annabella's bedroom, the bed where the dirty deed is done is the centrepiece, and among the posters on her wall True Blood takes pride of place, a clue maybe that subtlety isn't going to be the key note. Annabella (Lydia Wilson) is a much sought-after beauty and heiress with a number of dedicated suitors, chief among them Soranzo (Jack Hawkins.) But she only has eyes for her brother Giovanni (Jack Gordon) and when he confesses similar feelings towards her the scene is set for sex, violence and synchronised dance sequences.