Theatre

“There’s a play in that”: interview with ‘The Gang of Three’ playwright Robert Khan

It’s Budget Day as I sit in the foyer of the Oxford Playhouse. Down in Westminster, Chancellor Healey faces his first major test. But up here, another Chancellor Healey...
Culture Saul Grenfell -

Behind glass: Lighthouse Productions’ ‘The Seagull’

The thematic potency and the overall success of Lighthouse Productions’ iteration of Anton Chekhov’s 'The Seagull' all came together in a great and terrible revelation.
Culture Jas Mauj -

‘Burning Down the House’: A review 

During the odd ‘in-between’ space that is Week 0, I searched for a show to give me something to do, amid the random dilly-dallying and the odd collection currently occupying my time.
Culture Joe Hayes -

Must theatre be so dire? Thoughts on the “unworthy scaffold”

If 'art est celare artem' (true art is to conceal art), then theatre is pretty poor art. You ain't fooling me into thinking that's a storm.
Culture Saul Grenfell -
Latest

‘God of Carnage’ preview – “a disgusting and disquieting play”

Jorge Lopez Llorente previews God of Carnage at the BT Studio

‘Retelling Tales’ preview – “I heard stories that got inside my body.”

Lucy Enderby is impressed by the originality and emotive power of ‘Retelling Tales’

Confessions of a Drama Queen 6: Things get worse, again

Our drama queen goes into hiding, after some shocking humiliation.

Under Milk Wood preview – ‘Creative and interesting but overly dramatic’

Though admiring the production's use of space, Zad El Bacha finds the acting of 'Under Milk Wood' excessively solemn.

Five minutes with: Lucy Hayes

We chat to Lucy Hayes, chair of OUDS and manager of Perepeteia Productions, about her experience with Oxford drama, her real-life heroes, and her latest exciting project.

Confessions of a Drama Queen 5: Things can only get better

Our drama queen's unparalleled potential is finally recognised

‘Lieutenant of Inishmore’ review – ‘An excellent understanding of pace’

John Livesey admires the acting in 'The Lieutenant of Inishmore,' but regrets how it shies away from violent visuals

In conversation with Layo-Christina Akinlude

Katie Sayer talks Shakespeare and the pursuit of happiness with the star of 'As You Like It'

‘A Familiar Friend’ review: “a masterful intensity”

Shamika Tamhane highly recommends 'A Familiar Friend' at the Michael Pilch studio

Lady in the Sheets review – ‘powerful and horrible but comic for all the wrong reasons’

Amber Sidney-Woollett says 'Lady in The Sheets' should leave the laughs at the door and stick to emotional impact

Intruder and Seven Princesses review -‘Twisted and ghoulish delight’

Charles Britton is won over by the plays' disturbing horror

The right production but the wrong play

The production is imaginative but the choice of play is inappropriate and bizarre, writes Susannah Goldsbrough

The Lieutenant of Inishmore review – ‘fast moving and extremely funny’

Whip-smart dialogue ensures this black comedy leaves its mark

‘Lights Over Tesco Carpark’ review – “equal parts inspired and bonkers”

Charles Britton is abducted by laughter in 'Lights Over Tesco Carpark'

Five Minutes With… John Livesey

This week we chat to John Livesey, the manager of Klaxon Productions

Confessions of a Drama Queen 4: I meet my Romeo

In the next instalment of 'Confessions of a Drama Queen', our eponymous diarist becomes infatuated with a fellow thespian

Preview: Lady in the Sheets – “chaotic, hilarious, uncomfortable”

Jimi Cullen is excited by the potential of 'Lady in the Sheets'

‘Random’ review – ‘Nuanced and fresh’

Kitty Horsfall admires the cohesion of the different elements of this performance

‘Death and the Maiden’ – ‘Intimately, excruciatingly personal’

As part of our look back on the Russian Revolution, Izzy Smith admires Dorfman’s complex but visceral examination of the aftermath of revolution in his play Death and the Maiden

Confessions of a Drama Queen: A Change of Career

Under-appreciated in her own time not only as an actress but also as a reviewer, our melodramatic fresher is driven to desperation, even considering writing for Cherwell.
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