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A Jewish writer fills a vacuum with a play about Israel that refuses to take a simple view as it foregrounds an erotic older woman. Matthew Reisz writes
A witty version of the Greek tragedy confronts our desire to watch the unwatchable as it diverts our focus from binaries to transitioning, says Liz Schafer
A rare staging of the dramatist’s work pushes to the fore seldom-seen plays that reveal the tensions at the heart of his oeuvre, says Lisa Hopkins
A staging of the 1647 Putney Debates poses inconvenient questions about political means and ends, says Liz Schafer
Justin Audibert’s sparkling production showcases the tragedy’s uneasy blend of offence and elation with just a hint of Tarantino, says Peter J. Smith
Shakespeare’s shortest tragedy is actor-centred and is often best presented stripped of all distractions, says Peter J. Smith
Live broadcasting has changed how audiences view theatre and performance, says Liz Schafer
A musical lecture explores the links between three men connected by the Nuremberg trials, writes Matthew Reisz
When Liz Schafer interviewed the Oh! What A Lovely War director, she was bowled over by her passionate and indiscreet insights into her life in theatre
Peter Brook’s play about synaesthesia delights Matthew Reisz with its blend of philosophical themes and Shakespearean comedy
By using ‘children’ in adult roles the Sam Wanamaker Playhouse both challenges the audience and returns to original practice
Physical aspects of a new theatre both add to and detract from a convincingly chilling tale of sororicide, attests Liz Schafer
Emma Rees is 34 down, four to go in a bid to see the Bard’s entire canon on stage
Anna Hartnell takes part in an immersive theatre experience that has audiences bear witness to environmental catastrophe
Jonathan Thacker hopes that three comedia nueva plays - combining comedy and tragedy - will herald a revival of a lesser-known art form
Jessica Swale’s rollicking play about women in 1890s Cambridge fighting for the recognition of their education has relevance today
The ‘creative consultant’ at work in the National Theatre’s new production of Christopher Marlowe’s Edward II
Three recent productions at Shakespeare’s Globe highlight to the challenge of how to present Katherina’s submission
A new production of Shakespeare’s brutal play continues to elicit disquieting questions about moral values
Daniel Ploeger’s performance provokes minds through ‘body beautiful’