Theatre

Stubborn, devout, doomed: ‘The Anti-gone’ reviewed

When The Anti-gone begins, the only thing onstage is a lectern – stark in the harsh white light and terribly lonely – before Ismene (Kitty Brown) walks uncertainly down the aisle and stares, torn and lost, into the audience.

Culture Natalie Tan -

Something wicked this way comes: ‘Macbeth’ previewed

Arriving at Somerville College in its full summer pomp, Stanley Toyne and Cameron Spruce,...

Theatre Arun Lewis -

All in a day’s Work.txt: Metatheatre’s extremes

I first heard about Work.txt when I was asked by a friend (or coworker?) if I was free Saturday night. And this was a gilt-edged proposition I just couldn’t turn down.

Culture Jessica Phillips -

It’s a bird, it’s a plane, it’s theatre: Defining the ill-defined

It has been 93 years since the first performance of Bertolt Brecht’s The Good...

Culture Amy Lawson -

Latest

‘Comedy is very deceptive’: Seán Carey on ‘Operation Mincemeat’

As a history student, you occasionally come across stories so strange they feel almost fictional. Operation Mincemeat is one of them.

Riotous Fun! ‘Little Women the Musical’ in review

Isaac Gavaghan reviews 'Little Women the Musical', Pembroke College’s annual musical directed this year by Dawuud Abdool-Ghany.

Seeped in nostalgia: ‘Things I Know To Be True’ reviewed

Lighthouse Productions' 'Things I Know to Be True' had high expectations to meet. Put frankly, they nailed it.

Let’s go to the movies: Fennec Fox Productions’ ‘The Flick’

After their staging of Company at the Oxford Playhouse earlier this term, Fennec Fox Productions are set to return next week with a run of The Flick (2013) at the Burton Taylor Studio.

A deeply Singaporean play: In conversation with ‘Late Company’

OUMSSA Theatre makes their debut with Jordan Tannahill’s Late Company. While the text originated in Canada, OUMSSA Theatre’s take on it is nonetheless entrenched in Singaporean culture.

Lighthouse Productions on ‘Things I Know To Be True’

Fresh from the success of their debut production, Lighthouse Productions are set to deliver their second show: Andrew Bovell’s Things I Know to Be True (2016).

A masterclass in devising: ‘Noether’

This original play tells the story of the mathematician Emmy Noether and her struggles with the misogyny of her male peers against the backdrop of the rising Nazi state.

A show with bite: ‘Little Shop of Horrors’ reviewed

Ong and Bouchta have mounted an incredibly successful run at the O’Reilly. The commitment and love for the show comes across.

Kooky and self-assured: ‘Brew Hill’ in review

Pecadillo Productions’ latest show is (quite rightly) aiming for Fringe, but this kooky, self-assured tragicomedy has immediate cult classic potential.

For those who like the idea of someone: In conversation with ‘Dreams’

Dreams is a piece of brand-new writing by Peter Hardisty and Charlotte Macari, produced by Crazy Child Productions.

A day in The Sun: ‘Ink’ at St John’s

James Graham’s Ink, directed by Georgina Cooper with the St John’s Drama Society, dramatises Rupert Murdoch’s acquisition of The Sun in the 1960s, tracing its astonishing surge to unprecedented popularity.

‘Crawling with personality’: ‘Little Shop of Horrors’ in conversation

Last week, I infiltrated a rehearsal for Cross Keys and 2046 Productions’ upcoming Little Shop Of Horrors.

Techno, tragedy, and medieval monologuing: ‘Brew Hill’ in conversation

Pecadillo Productions’ ‘Brew Hill’ watches the deterioration of the romance between Nat (Trixie Smith) and Gordon (Jem Hunter).

A bold choice for limited space: ‘Tick, Tick…Boom!’

This ambitious take on a classic struggled in the space constraints of the Michael Pilch studio.

Disturbance on the line: ‘La Voix Humaine’ in review

The Burton Taylor Studio has been transformed into a Tracy Emin mixed-media installation for Jean Cocteau's 'La Voix Humaine'.

Spoonerisms and malapropisms: ‘You Got Me’ in review

Silent Tape Productions' 'You Got Me' is a hard-hitting story about memory, powerlessness, and the cyclical passing of time.

Nostalgic and sincere: ‘The Glass Menagerie’ in review

Crazy Child Productions staged a genuine and thoughtful adaptation of Tennessee Williams’ classic.

Irreverent, laugh-out-loud funny: ‘My Dead Mum’s AI Boyfriend’

Aled is a chatbot, but also, more concerningly, Carrie’s mum’s AI boyfriend.

Musical theatre and classic literature: A marriage of two minds?

Musical theatre owes a great debt to the literature of preceding centuries. Often, all we need is one idea to ignite a spark that leads to something greater.

Rich and generative: In conversation with ‘The Glass Menagerie’

After the success of The Creditors last Michaelmas, the Keble-based Crazy Child Productions is set to bring Williams’ breakout work to the Keble O’Reilly.

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Theatre

Stubborn, devout, doomed: ‘The Anti-gone’ reviewed

Something wicked this way comes: ‘Macbeth’ previewed

All in a day’s Work.txt: Metatheatre’s extremes

It’s a bird, it’s a plane, it’s theatre: Defining the ill-defined

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