STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
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Best of 2018: London theatre
by MARY CONWAY
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
JAN WOOLF examines work that aims to give viewers a material experience of the environments in the polar north and Britain equally affected by the climate crisis
The bard recalls advice received 50 years ago from his TRB muse, and sorts out appropriate legislation for football club ownership
MICHAL BONCZA and MARIA DUARTE review Facing War, Kontinental ’25, Bugonia, and Relay
MAYER WAKEFIELD is frustrated by a production of Ibsen’s classic study of an anti-heroine that fails to elucidate her motivations
PETER MASON tunes his ear into the domestic affairs of a Carribbean couple with a troublesome son
THE BRAINCHILD of Jamie Lloyd, the ongoing Pinter at the Pinter season at the Harold Pinter Theatre commemorates the playwright’s death 10 years ago with seven different compilations of his one-act plays and monologues. Packed with actors at the top of their game, it's a theatrefest to make the heart sing.
Uncomfortably true: A Very Very Very Dark Matter (Pic: Manuel Harlan)
Not only does it showcase Pinter’s range through comedy, anger and political satire to the poignantly personal, raw, violent and prescient, it is also a landmark in the history of theatre craft — a seismic shift from linear narrative to the kind of drama where the fragile construct of words often disguises real character complexity.
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