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South America’s trauma in the second half of the twentieth century can be summed up by one phrase: The Disappeared. Whether in Argentina or Chile or anywhere else, the victims of military …
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
David Greig's much-lauded mountaineering survival story fails to reach the dizzy heights.
This touring production of Trojan Horse, a verbatim theatre piece about the Birmingham schools scandal, is absorbingly polemical and moving.
Believe in ideas? David Baddiel’s new play God’s Dice stars Alan Davies as a scientist drawn to religion.
Caridad Svich’s excellent adaptation of Isabel Allende’s 1982 modern classic The House of the Spirits is an epic and emotional evocation of South American history.
One of the great cultural divides is that between religion and science. Of course, as novels such as Philip Pullman’s His Dark Materials trilogy amply prove, it’s easier to speculate abo…
Black comedy Sydney & The Old Girl is occasionally entertaining, but much too dark and dispiriting for its own good.
On BearRidge, the first Ed Thomas play for 15 years, is a post-apocalyptic metaphor-fest which is tragic, lyrical and funny too.
Jordan Tannahill’s queering of Renaissance art in Botticelli In The Fire is riotously vulgar and completely unapologetic mash up.
A terrific revival of Arinzé Kene’s 2011 coming-of-age drama Little Baby Jesus is mind-glowingly lyrical, energetic and wise.
Sarah Rutherford’s new play The Girl Who Fell, about teenage death, mourning, coincidence and healing, is sensitive and heartfelt.
Winner of this venue’s 2018 International Playwriting Award, Out Of Sorts is a movingly-written and deeply felt drama.
Alice Birch’s experimental new play [Blank] prioritises form over content and is at heart depressingly reactionary.
Sabrina Mahfouz’s feminist account of British imperialism in A History of Water in the Middle East is energetic and passionate but also turns out to be a very slender piece of theatre.
Mephisto [A Rhapsody], a French meta-theatrical update of Klaus Mann’s classic novel, has some brilliant moments but lacks metaphorical force.
Baby Reindeer at the Bush Theatre, stand-up comedian Richard Gadd’s provocative one-man show about a stalker and complicit victimhood, is darkly exciting.
Ruby Thomas’ experimental debut play Either is an intriguing questioning of gender identity that retains an air of politeness.
This sharp and starry revival of Peter Nichols’ taboo-busting fantasia A Day in the Death of Joe Egg is pretty magnificent.
Caryl Churchill’s Glass. Kill. Bluebeard. Imp. at the Royal Court is wonderfully bright and incisively perceptive.