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.
Since he took over the Trafalgar Studios, director Jamie Lloyd has staged some of the most thrilling and accessible productions of Shakespeare I've ever seen. And it's all been done with an eye to keeping the bard as accessible as possible. There are low ticket prices for young audiences.