Alexander Cohen - Page 6

An atmospheric story of a group of trapped explorers at the mercy of mother nature, the UK premiere of Joby Talbot’s Everest has a chillingly eerie resonance.

If there were an award for most unpredictably bonkers play of the year this would be the top contender. But there is method in the madness. Roll with it. You will be rewarded. Dance with its bombastic weirdness but fasten your seatbelt first.

A lacklustre central performance shifts the focus towards Charlotte's tragedy instead of Werther's.

The personal and the political become one in this sweater vested whirlwind of a play

BroadwayWorld caught up Beverley Klein and Teddy Kempner, two of the newest cast members, as they take over as Herr Shultz and Fraulein Schneider.

A steroided neo-liberal dystopia is the backdrop for this literal and a metaphorical journey of self-discovery.

An existential triptych of monologues slaps the audience in the face and expects them to apologise

Adele Thomas' new production is a rollicking clash of carnivalesque weirdness and heartfelt desire.

Maureen Lipman's one woman show traces a Holocaust survivor's journey to find home

Well intentioned but generic study of grief

Admirable inquiry into the morality of mob short changed by its own self-indulgence

Deborah Warner's new production dives head first into the Lars Von Trier pool of paranoia

With the swashbuckling zeal of a rowdy tavern brawl and all the brash bravado you can shake a bulging cod piece at, the Sean Holmes helmed The Comedy of Errors crashes onto the Globe stage to start the summer season with a bang.

BroadwayWorld caught up with Emily Fairn, the breakout star of BBC's The Responder as she makes her theatrical debut, along with Mike Faist and Lucas Hedges. We spoke about getting a leg-up in the industry, perfecting a Wyoming accent and returning to the stage after her television work.

An overstuffed and underbaked look at food poverty

The production straddles the line between farce and poignance without deciding which it prefers.

A wildly thrilling clash of theatrical titans becomes a love letter to the art form

Katie Mitchell's climate change wake-up call is a cold, hard slap in the face

Close your eyes. Imagine a rock opera based on the life of prime minister Tony Blair and his ten years at number 10. Throw in some generic rock ballads and there you go. You have TONY! (The Tony Blair Rock Opera), as predictable as it is self-aware as it is schmaltzy.

A confident production of a conceptually flawed opera.