American film director Paul Schrader had to take his clothes off to persuade Lindsay Lohan to prepare for a group sex scene in the movie, The Canyons. As there is no such scene in David Mamet's Speed-The-Plow, in which Lohan makes her stage and West End debut, director Lindsay Posner will be spared the indignity.
Every writer wants to capture something of the human condition. Few manage it. But with his production of his own play, Irish dramatist Enda Walsh takes his audience as close to mortality as any new modern work I can think of. And not, as some have done, by writing so tediously about the subject that you want to end it all anyway.
This show asks the self-deprecating question, "What do you expect from a fringe revival transfer?" It's a canny line. Forbidden Broadway exists to deflate the overblown, self-congratulatory hype that surrounds some of musical theatre's biggest hits.
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