GEOFF BOTTOMS relishes a profoundly human portrait of a family as it evolves across 55 years in Sheffield
Thriller fails dramatically in mountain ascent
Escapees: Hasan Dixon and Katie Elin-Salt
[Jonathan Keenan]
PAUL DONOVAN applauds an excellently crafted new musical that explores the life and death of Ruth Ellis
PAUL DONOVAN is tickled by the excruciating take-downs of one of the funniest, wittiest, political writers around.
RON JACOBS points out, via a transcription of Kissinger’s secret recordings, that Trump could never have existed without Nixon and Kissinger
ELLIS RAE is persuaded that the advantages of the ‘talking cure’ are superior to the treatment of mental illness with drugs
JOHN GREEN, MICHAL BONCZA and BELLA KATZ review The Good Boy, Broken English, and Don't Be Prey
Black Mountain
Orange Tree Theatre, Richmond-upon-Thames
BUILDING dramatic tension is not an easy skill for a playwright to master. Just a word or two, or even a pause, in the wrong place can puncture long spells of hard-earned unease.
In Brad Birch's latest play it is not so much his delicately crafted and intriguing wordplay that bursts the bubble but the deflating lack of substance behind it.
James Grieve's minimalist in-the-round production utilises just a ring of light and a collection of shrill sounds to illuminate the story of a murky love triangle.
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