Harold Pinter’s short play, One for the Road, concerns torture, and you can assume it’s talking about state-sanctioned torture, given Rising Phoenix Repertory’s decision to t…
Here’s what happens in order: A parody of bourgeois conversation by actors in black morphsuits; a light show to the gaiety of the Ode To Joy; unembellished description of said pi…
Bob Stourton has an orchard.
Billed as “not simply a docu-drama”, Ears on a Beatle promises perspective on the post-Summer-of-Love, post-Fab-Four decade in which the two protagonist agents find themselves.
Imagine you’re fifteen.
Lithuanian director Arturas Areima mounts an adaptation of Falk Richter’s play of the same name, Under Ice.
Deep Water Theatre Collective mount Bend in the River: a tender, Thornton Wilder-esque look at the modest living of lepers.
Here we go again.
Stephanie Ridings does a lecture on state homicide with drama.
Absolutely implausible and performed implausibly too: there are moments where Sins Borne’s premise works but they are too sparse.
Isabel(le) concerns Isabel Brade, a freewheeling brothel owner with a penchant for dance, and Emma, her great-granddaughter and narrator of the show.
The Genesis + Revelation cycle by Fourth Monkey promises “traditional Bible stories with a contemporary twist”.
Kevin Hely stares, bares his teeth and darts along the stage.
[email protected] mount an original adaptation of Tang Xianzu’s A Dream Under the Southern Bough.
Five-star performance in a three-star play.
London-based Clean Break fit two plays into one show: House, a tight family drama set in a British-Nigerian household, and Amongst the Reeds, a nondescript tale of homelessness, fr…
It’s indefatigably Wilde.
Looking like a cyberpunk priest, Tsai Pao-Chang’s hero is swamped in technology — AI, encrypted files and dating sites.
Centenary productions saturate the Fringe, yet the conceit at the heart of The Unknown Soldier puts it slightly above the masses.
Inferno is the first and, arguably, best part of Dante’s Divine Comedy.
When the polyrhythm is heard in Nzinga Warrior Queen’s opening, you know this isn’t a comedy of manners.
Many appreciate conscientious objectors because they seem on the right side of history.
A man and his unseen companion in a tent.
Most Fringe shows think they can squeeze two hours into fifty minutes.
Bloody Happy Dave.
It’s a bowl of sugar mixed with grit.
Ten Storey Love Song may be the greatest Fringe show I’ve ever encountered.
Bobby Winner Ten Storey Love Song (adapted by Luke Barnes from the Richard Milward novel) is a play cum techno gig about five wretched tower-block inhabitants who deserve better fr...