Since Rupert Goold took over the reins at the Almeida a year ago, every production has felt like the coolest, most must-see show in London. Even the 25-year-old novel, American Psycho, seemed freshly minted after being given the Almeida treatment.
The title does not refer to a Top Gun battle in the sky, nor a snarling pit of canines. Rather, Benj Pasek and Justin Paul's musical, first seen in New York in 2012, is about a cruel competition conducted by a squad of American marines to date the ugliest girl.
As Blanche Dubois, Gillian Anderson - a star whose career was defined by the unflappably cool Scully in The X-Files - turns in a superb performance of brittle fragility that captures the full monumental tragedy of Tennessee Williams's heroine.
This the latest in a series of classic plays at the Young Vic that have been liberated from what Australian director Benedict Andrews calls "chocolate bo
Irish theatre-goers attending a festival celebrating the life and work of Samuel Beckett, one of its greatest playwrights of the 20th century, would expect to see a production of his most famous work, Waiting for Godot. What they might not anticipate is a version of the play being performed in Yiddish.
Films don't easily convert into plays. For this one, a lot of theatrical know-how has been conscripted into adapting Tom Stoppard and Marc Norman's Oscar-winning screenplay. Writer Lee Hall, who did a brilliant job converting the film Billy Elliot into a hit musical, has teamed up with director Declan Donnellan. The result is impressively fluid.
There is probably no such thing as a forgettable Medea. This is the mother in Euripides's play who exacts revenge on her betraying husband by murdering their children. Diana Riggs's had a hurricane strength; Fiona Shaw's, set in what looked like a house in Hampstead Garden Suburb, caused audience members to faint.