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Tag: Pilch

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: American Buffalo

Frazer Martin reviews 'American Buffalo' at the Pilch.

Review: The Crucible

Francesca German feels the power of Arthur Miller's classic 'The Crucible' at the Pilch.

Review: Things I Know to be True

This powerful family drama packs an punch at the Pilch.

Review: Crave

GOYA's Crave stays true to the chaotic and disturbing nature of Kane's work.

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

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