Welcome to The Jungle. Take a seat at one of the makeshift tables surrounded by tarpaulin and chipboard walls. This is the Afghan Flag restaurant, one of many establishments that grew up in the Calais refugee camp – recreated here to evoke the powerful community that also grew up there. Continue reading “Review: The Jungle, Young Vic”
The Royal Court deserves a long and loud round of applause for the way it has responded to revelations about sexual harassment in the theatre industry. Vicky Featherstone has led the way, with bold initiatives and bold decision-making. Continue reading “Opinion: By cancelling Andrea Dunbar’s play, the Royal Court has silenced an urgent female voice”
Yes, there are real goats in Goats. And very lovely they are. But they serve a serious function too: in Syrian writer Liwaa Yazji’s play about the conflict, a goat is given as compensation for each martyred son. Continue reading “Review: Goats, Royal Court”
I reviewed W. Sydney Robinson’s biography of Ronald Harwood for the TLS – take a look here.
I did an interview with Denise Gough, about taking People Places and Things and Angels in America, for The New York Times. Link to full profile here.
I interviewed Sir Nicholas Hytner for a piece for the New York Times on the opening of his new Bridge Theatre, Young Marx, and why new writing needn’t be worthy. See the full piece here.
“I’m mad as hell, and I’m not going to take this anymore”: the rallying cry from Paddy Chayefsky’s 1976 film about Howard Beale, a news anchor who loses it on-air, has become a much-quoted meme, as the film seems only more prophetic with each passing year. Continue reading “Review: Network, National Theatre”
So this is what happens when the manic pixie dream girl grows up: she’s just as annoying as she ever was. Continue reading “Review: Heisenberg, Wyndham’s”
It’s a welcome return for David Greig’s family musical version of Dr Seuss’ The Lorax. First seen in 2015, it’s back at the Old Vic, before touring North America. Continue reading “Review: The Lorax, Old Vic”
Why was the red rose chosen by Labour as its new symbol during rebranding in the Nineties? “Because it looks pretty but is full of pricks,” quips party faithful Jean, in a play that sugars its analysis of the internal struggles of the Labour Party with an extremely high gag rate. Continue reading “Review: Labour of Love, Noel Coward Theatre”