Theatre review: As Is

Another revival from the 1980s at the Finborough, and it's what they're billing as the first-ever AIDS play, William M. Hoffman's As Is. The play opens with a pair of exes arguing over who gets which of their shared possessions. But Rich (Tom Colley) is using the squabble as a delaying tactic for what he really needs to tell Saul (David Poynor,) namely that he's tested HIV positive. The following 80 minutes flash both back to their relationship and its end, and forward to Rich's deteriorating health - and the ex-boyfriend who still loves him remaining at his side as a constant support. As well as this personal story that carries the heart of the narrative through, Hoffman also spreads his focus out to the New York gay community at large - the liberated, promiscuous subculture of the 1970s that was so vulnerable to an unknown killer disease - and the support networks that they created in its wake.

Theatre review: The Judas Kiss

"Why on earth did you do it?" One of the programme notes, written by his grandson Merlin Holland, asks one of the biggest questions about the trials of Oscar Wilde: He instigated the whole thing with a libel case against the Marquess of Queensberry's accusation of being a "somdomite" (sic) knowing all along it was not only true but easily proved. This is one of the two main questions tackled by David Hare in his play The Judas Kiss, which is revived by Neil Armfield at Hampstead Theatre prior to a tour. The second central mystery concerns the other man at the centre of the trials, the Marquess' son Lord Alfred "Bosie" Douglas: Why did Wilde not only keep coming back to, but willingly allow his life to be ruined because of a young man who (in Hare's interpretation at least) seems to have had no redeeming features whatsoever?