Review: Present Laughter
Present Laughter, a 1942 play by Noël Coward, recounts the days leading up to the departure of Gary Essendine, an actor, for his tour in Africa....
Review: The Crucible
Francesca German feels the power of Arthur Miller's classic 'The Crucible' at the Pilch.
How To Make Friends and then Kill Them Preview – ‘promises to be entertaining and unsettling’
A preview of Coningsby Productions' play at the Pilch this week.
‘Brink’ Preview – ‘an exploration into public vs. private spaces’
Alastair Curtis' new play explores how individuals forge connections with others in our modern, digitalised world
Drunk Enough to Say I Love You? Review – ‘genre-crossing and well-executed’
Katie Knight is impressed by Klaxon Productions' production which incorporates new forms of media.
Top Girls Review – ‘uncomfortably straddles the experimental and the domestic’
"Adam Radford-Diaper’s adaptation is slick and well-acted, often wonderfully absurd and funny, but ultimately leaves me feeling slightly cold."
Drunk Enough to Say I Love You? Preview: ‘The political becomes personal’
Cesca Echlin previews Caryl Churchill's 2006 play, which she finds entices the human out of the political
The Polycephaly Monologues Review – ‘seamlessly combines the surreal with the naturalistic’
Tom Mackie is left amazed, but confused, by Nick Smart's juicy, absurdist work
Beautiful Thing review – ‘Ruckus Productions has certainly made some noise’
Franklin Nelson is impressed by this rendition of a thoughtful, timeless coming-of-age drama
Review: The Homecoming
After the play finished, a few good friends walked towards me. “Wait, so what happened?” My friend Alex’s facial muscles were contorted. “What the...
Review: John Hodge’s ‘Collaborators’
Bessie Yuill finds herself simultaneously amused and disturbed by this dark tragedy about a fictional meeting between Stalin and Bulgakov
