Theatre

“What is a good life?”: The Standard of Living in review 

“What is a good life?” This axiological question, asked earnestly in the opening lines of James Graham’s The Standard of Living – playing at Theatre Royal Haymarket until December 12 – is often overlooked by the fractured and hyper-specialised discipline of economics.
Culture Eoin Ware -

Good grief! Why do we feel for the death of fictional people?

Whether it’s a mild sniffle or full-blown tears, I always end up feeling a bit ridiculous about the whole ordeal when it’s over. I mean, it’s not real, is it? Why do I waste my grief on things that haven’t happened, that will never happen?
Culture Jas Mauj -

Caught between grief and hope: ‘On Some Far Shore’ reviewed

Fresh off the back of 'Our House' and 'Macbeth', Cross Key Productions presents an original three-hander focused on the complexities of grief and young love.
Culture Melissa Eddon -

The road to reckoning: ‘The Slip’ reviewed

Sharp, unsettling, and emotionally intelligent, 'The Slip' is a striking showcase of the ambition and talent behind Wide Eyes Productions, while establishing Wyatt as a writer-director to watch.
Culture Leo Jones -
Latest

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.

A breakdown in technicolour: ‘Company’ in review

With flashing lights and a shower of confetti, Fennec Fox Productions’ Company bursts onto the Playhouse stage to deliver its exuberant portrayal of romantic pessimism, just in time for Valentine’s Day. 

‘An enormous amount of humour’: ‘Lemons’ review

Lighthouse Productions’ debut project delivered a fast paced, hilarious version of Sam Steiner’s script. Even the argumentative scenes prompted laughs.

‘Does your doctor need to care?’: GREYJOY, reviewed

GREYJOY is a stunning example of how intricate and thoughtful student theatre can be.
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