It's done with sound rather than smoke and mirrors. But the result is certainly unsettling in David Rosenberg and Glen Neath's 50-minute piece, played out in pitch darkness, which confuses the sense and plays tricks on the mind.
Simon Stephens' clever adaptation of Mark Haddon's bestselling novel about a teenage boy with Asperger's syndrome is like a cute dog that leaps up and wants to lick you all over. There's no point in resisting – and there's no need. Marianne Elliott's pr
Shakespeare with puppets? Of course it's been done before, but not with some of the same team behind the National Theatre's mega-hit, War Horse. But, although puppets of many sizes and shapes figure in a big way, courtesy of South Africa's endlessly inven
'The idea that theatre can change anything," says Bruce Norris, "is optimistic." This is a startling remark from the writer of 2010's scaborously funny Clybourne Park – a combustible mix of race, property prices and liberal pieties that won Norris an Ol
There's no getting away from God or the Catholic church in Anna Wakulik's lively play: the whole theatre has been cleverly transformed into a church, complete with nave and altar, by designer Max Jones.
As Forced Entertainment prepares a longer, all-day-all-night version of its show at the Barbican, we look at what - in this age of short attention spans - makes durational theatre so seductive The look of horror on the faces of some of my students when I
Bearing more than a passing resemblance to Ian McEwan's The Cement Garden, Janice Okoh's Bruntwood prize-winning play takes us to a flat on a south London estate where three siblings are trying to keep the real world out. With the bathroom out of action,
The facts are not in dispute. On 11 April 1955, Ruth Ellis shot and murdered her lover, David Blakely, outside a Hampstead pub. Ellis was found guilty and became the last woman to be hanged in Britain. But why was she so keen to admit her guilt, and so lo
Charlotte Josephine and Luke Barnes are two young writers who are going places. These monologues were both first seen at the Edinburgh fringe last summer, and while they are limited by their form, they both capture the excitement and vulnerability of yout