Review: Ballyturk

By John Nathan, September 23, 2014

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.


Review: Forbidden Broadway

By John Nathan, September 18, 2014

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.


Review: Little Revolution

By John Nathan, September 11, 2014

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.


Review: Toast

By John Nathan, September 4, 2014

There is this bloke called Bean and he's written a play called Toast. That's how a colleague of mine greeted Richard Bean's first play when it opened at the Royal Court in 1999.


Epstein - The Man Who Made the Beatles

By John Nathan, August 21, 2014

I'd love to know what the surviving Beatles make of Andrew Sherlock's play about their manager.


An ugly concept that's beautifully realised

By John Nathan, August 18, 2014

DogfightSouthwark Playhouse, London SE1

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.


Review: My Night With Reg

By John Nathan, August 7, 2014

There can be few things more poignant in theatre than the revival of a much-loved play being preceded by the death of its author.


A Streetcar Named Desire

August 7, 2014

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


Ireland waits no longer for Yiddish Godot

By Simon Round, July 31, 2014

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.


Review: Shakespeare In Love - The Play

By John Nathan, July 31, 2014

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.