Articles by tdsadmin

Two contrasting play revivals are opening at powerhouse Off-West End venues later this month, and here’s a selection of recently-released rehearsal shots to give a flavour of what’s in store… Ian Talbot’s revival of Ken […]

Ena Lamont Stewart’s 1947 play Men Should Weep has received a rare revival at the National Theatre, where it opened in the Lyttelton Theatre on 26 October 2010 (previews from 18 October). Set in the […]

The nominations phase in the 11th annual Whatsonstage.com Awards, the “theatregoers’ choice”, opens today, Monday 1 November 2020. The annual Awards have firmly established their place in the theatrical calendar with a record-breaki… Full published […]

On successive nights at the end of last week we had the best production of Sarah Kane’s Blasted I’ve seen, at the Lyric Hammersmith, and the first ever performance of Edward Bond’s latest, There Will […]

Sarah Kane’s seminal and brutal play Blasted, which was famously derided by critics when it premiered at the Royal Court Theatre Upstairs in 1995, has been revived at the Lyric Hammersmith by artistic director Sean […]

Christopher Luscombe’s West End revival of JB Priestley’s 1938 comedy When We Are Married opened at the Garrick Theatre last week (28 October 2010, previews from 19 October). The cast includes established stars Roy Hudd, […]

Amongst the major London openings, in the West End and further afield, this week are: OPENING TONIGHT, Monday 1 November 2010 (previews from 28 October), the Donmar’s residency at Trafalgar Studios 2 continues with Roisinn […]

The title of Edward Bond’s new play – his first premiere in a London theatre in over two decades – is doubly ominous: there will be more carnage, despair and madness; and there will be […]

Danny Boyle’s production of Mary Shelley’s Frankenstein will see Sherlock star Benedict Cumberbatch return to the National following his critically-acclaimed appearance in After The Dance::E8831276073724 this summer. It was today (29 October 2010) a… Full […]

More pitiful than pornographic, more tender than tendentious, more tragic than traumatic, Sarah Kane’s Blasted has worked its way in the world these past fifteen years as a modern classic, but I’ve never felt the […]