Rodney Ackland must be the most well-known forgotten man in postwar British theatre. His legend goes like this: Absolute Hell was originally titled The Pink Room, and first staged in 1952 at the Lyric Hammersmith, where it got a critical mauling. The Sunday Times’s Harold Hobson said that the audience “had the impression of being present, if not at the death of talent, at least at its very serious illness”. Hurt by such criticism, Ackland fell silent for almost four decades. Then, as he struggled against leukemia in the 1980s, he rewrote the play. Produced by the Orange Tree Theatre in 1988, Read more ...

Playwright Anthony Neilson has always been fascinated by sex. I mean, who isn’t? But he has made it a central part of his career. In his bad-boy in-yer-face phase, from the early 1990s to about the mid-2000s, he pioneered a type of theatre that talked explicitly about sex and sexuality. I remember watching his searing and provocative plays, such as Penetrator (1993), The Censor (1997) and Stitching (2002), with my heart in my mouth, and my legs crossed. The content was explicit, emotionally grounded and rarely heard in public. Since then, the playwright has diversified his output, but his new Read more ...

About a decade ago, theatre-makers started routinely describing themselves as being in the business of storytelling. And “storytelling” is most certainly the term that best describes Matthew Lopez’s two-part, seven-hour epic The Inheritance. Beautifully cast, economically designed and directed with strikingly elegant simplicity by Stephen Daldry, it has plenty to recommended it but there’s no denying a central problem. This gay male revamp of E.M. Forster’s novel Howards End is a case of too much telling of story at the expense, all too often, of true drama. “Who Read more ...

That this 1948 Tennessee Williams play is rarely performed seems nothing short of a travesty, thanks to the awe-inspiring case made for it by Rebecca Frecknall’s exquisite Almeida production. Aided by the skyrocketing Patsy Ferran, it also makes a case for director Frecknall as a luminous rising talent in British theatre.During a long, hot summer in early 20th century, small-town Mississippi, minister’s daughter Alma (Patsy Ferran, pictured below) – whose name means “soul” in Spanish – yearns hopelessly for the boy next door: dissolute doctor’s son John (Matthew Needham), who believes Read more ...

I never have the idea of adapting anything at all myself. The suggestions always come from directors or theatre companies. Someone calls me to say, Would I be interested in adapting this book… and I say… "Let me read it and get back to you”, then I sit down and whizz through it… and… if my heart lifts at the thought, I say “yes”. If it sinks… I decline politely. You have to be excited by the work of someone who is, in fact, going to be The Head Writer.So far, I have been The Junior Writer or, as I position myself, Assistant to… Mr Robert Louis Stevenson, Mr Bram Stoker, Ms Kate Atkinson, Ms Read more ...

Fingers on buzzers… Question: What’s the connection between Days of Wine and Roses, Small Change, Making Noise Quietly and Versailles? Answer: They’re all past Donmar productions directed by Peter Gill.But it’s not just his directing skill – no one in British theatre has a finer ear for the rhythm, pitch and placement of dialogue – that makes Gill a primary figure in the Donmar’s past and present. Not only did he direct the sons-and-mothers struggle Small Change and the post-Edwardian drama of family secrets and lies Versailles, he also wrote them. Robert Hastie’s revival of his 2001 play The Read more ...

Time flies so much more beguilingly in Daniel Jamieson and Emma Rice's 90-minute musical fantasia than it ever has, for me, in Bock and Harnick's Fiddler on the Roof – and the songs aren't bad, either. The inspiration here – and inspiration's the word – is not Marc Chagall's trademark violinist on the tiles but the artist himself and his clever, talented Vitebsk other half Bella Rosenfeld as they wing their way through the fraught first half of the 20th century. Rice and Jamieson, young and in love, played the couple 25 years ago, which makes this superb small-scale piece of total theatre a Read more ...

Is modernism dead and buried? Anyone considering the long haul of Harold Pinter’s The Birthday Party from resounding flop in 1958 to West End crowd-pleasing classic today might be forgiven for wondering whether self-consciously difficult literary texts have had their day. In Brexit Britain, where everyone is a populist now, there might not be much of a demand for difficult art, but people still seem to crave entertainment. So it’s good to see that this 60th anniversary revival of Pinter’s most canonical work still works both as a funny situation comedy and as a thought-provoking disturber of Read more ...

Year-end wrap-ups function as both remembrances of things past and time capsules, attempts to preserve an experience to which audiences, for the most part, have said farewell. (It's different, of course, for films, which remain available to us forever.) How fitting, then, that pride of place for the year just gone should be saved for the National Theatre's shimmering revival of Follies, the 1971 Stephen Sondheim/James Goldman musical about the very act of letting go, served up in a production from the astonishing Dominic Cooke, whose 2016 NT revival of Ma Rainey's Black Bottom led my line-up Read more ...

Playwright Simon Stephens and director Marianne Elliott are hyped as a winning partnership. Their previous collaborations include The Curious Incident of the Dog in the Night-Time, a massive Olivier award-winning hit, and her sensitive revival of his early play, Port, at the National Theatre. Now they are in the West End again, this time with a two-hander starring Anne-Marie Duff and Kenneth Cranham. Despite the title, this is not a play about science, but about love, but it does concern chance. And uncertainty.Inspired by a vague notion of the Uncertainty Principle, which suggests that Read more ...

Anyone who likes playing “Spot the weirdo” will find themselves instantly at home in Howard Brenton’s new play, which has its world premiere in this West End fringe venue, a stone’s throw from Piccadilly Circus. Its subject is Swedish playwright and writer August Strindberg, and the psychological crisis which he suffered while he was living in Paris in 1896. He documented this experience of breakdown and hallucination in his autobiographical novel, Inferno, written in fury while he was experiencing paranoia and other delusions. Helping Brenton make sense of Strindberg’s plight is Jasper Read more ...

I wrote The Blinding Light to try to understand the mental and spiritual crisis that August Strindberg suffered in February 1896. Deeply disturbed, plagued by hallucinations, he holed up in various hotel rooms in Paris, most famously in the Hotel Orfila in the Rue d’Assas.He’d had great success in Paris. A revival of Miss Julie in 1893 created a sensation and, in 1895, The Father had been rapturously received. But now he abandoned playwrighting. He announced he was not a writer but a true “natural scientist”, an alchemist. His hands burnt by chemicals, he attempted to make gold.It would be an Read more ...