No stars, minimal hype, a long afternoon into the South Bank night: the National Theatre is staging back to back two little-known plays by two 20th-century American masters, and the result is a bit like opening an old trunk in the attic to find pristinely laundered shirts and suits, and perhaps a pair of perfect spats. Beyond the Horizon by Eugene O'Neill and Spring Storm by Tennessee Williams are early works by each playwright, from 1920 and 1937 respectively, and while the O'Neill feels somewhat stretched, even lugubrious, it's astonishing to learn that Williams' ebullient piece was first Read more ...

It takes a particular talent to poke fun at the Russian Revolution and its aftermath, a conflict that cost millions of lives and led to one of the most brutal regimes in modern history. But Mikhail Bulgakov’s novel, which he later turned into a play and is presented at the Lyttelton Theatre in a new version by Andrew Upton, does just that. It’s a big, rambling, sometimes confusing affair that dips into farce, but one that remains entirely gripping throughout its two hours and 40 minutes.Bulgakov's play (being given only its third UK production) completes a trilogy of early Soviet adaptations Read more ...

For the life of me I cannot understand why London Assurance is not performed more often. It’s a rollicking comedy, written in 1841 but which has a Restoration heart, with a cast list that includes a wideboy named Dazzle, a valet Cool, a servant Pert, a lawyer Meddle and - hold your sides - a horsey broad brandishing a whip named Lady Gay Spanker. Calm down, now.Dion Boucicault’s comedy of manners (written when he was only 21) is a witty commentary on town versus country and many of its lines could have been written yesterday. Mostly, though, it’s a chance for some of our greatest thespians Read more ...

The career of Simon Russell Beale (b. 1961) needs little introduction. It took wing with the Royal Shakespeare Company but, give or take the odd foray into other buildings, including work with Sam Mendes at the Donmar Warehouse and more recently with the Bridge Project, he has made the National Theatre his home. Of all the Hamlets seen in the past 20 years, his seems to be the one that more than any remains unforgettable in the collective memory. Meanwhile, anyone who saw him as a camp King Arthur in Spamalot may not have guessed that long before Russell Beale took acting seriously, he took Read more ...

Okay, now that you’re a citizen of Dystopia, and you’ve reached the regulation old age, it’s time to check into an approved care home. Please enter the Ark, and take your allotted bed. A government official will be with you in due course. Yes, that’s right, just take those pills and you will be fine. Will you be expecting visitors? Okay. Any problems, just ask Nurse. In Tamsin Oglesby’s satirical new drama, which opened last night at the National's Cottesloe space, the biblically named Ark is not a means of salvation but an instrument of euthanasia.We start with a family which, in its Read more ...

Call me old-fashioned, but when a bunch of people have trained in circus and French mime theatre, I’m expecting to be astonished, thoroughly surprised, and occasionally to feel the sweat breaking out on my palms. Can one enjoy circus skills without fear and awe being supplied? The aerialist theatre troupe Ockham’s Razor provide a sensational hamster-wheel set for their new show, The Mill, powered by human hamsters, but don’t serve up physical jinks of matching sensationalism. I grew up before the health and safety age killed off danger, and I like my acrobatics razor-sharp and daredevil.The Read more ...

Over the last 20 years or so, the genre of music we have learnt to associate with the violent assault of a regime upon its adversaries is hard rock blared out on massive speakers at ear-splitting volume, 24/7. First tried out with decisive results by the American military on General "Pineapple Face" Noriega of Panama in 1989, it has been refined in recent times to break down the resistance of innumerable presumed jihadis and insurgents in US detention.The juxtaposition between those two dynamic elements contrived by Tom Stoppard and André Previn in 1977 with Every Good Boy Deserves Favour was Read more ...

It sounded a dry subject and a dry title for Alan Bennett’s first play for five years - a fictional meeting between composer Benjamin Britten and poet W H Auden 25 years after they fell out, two old buggers, one furtive, the other extrovert. But at last night's premiere The Habit of Art proved an excruciatingly funny play, ribald, merciless, and as much about the bad habit of Theatre as that of the higher-toned Art. Nicholas Hytner has given it a wildly enjoyable production at the National Theatre that fields some epic comic performances in a bravura script.Wystan Auden was “in the imperative Read more ...

Dateline: Vienna, 1923. In a boarding house, seven young people - most of whom are medical students - find the air of the former Austro-Hungarian Empire’s capital city a heady mix of the sexually invigorating and the morally asphyxiating. At the opening last night of Ferdinand Bruckner's rarely performed play, Pains of Youth, there were moments when the event felt as if Egon Schiele was meeting Sigmund Freud at a madhouse performance of La Ronde.Any plot summary risks becoming bathetic, high art reduced to the status of soap opera, but here goes anyway: Marie is about to graduate from medical Read more ...

David Hare (b. 1947) has had three distinct phases to his career as a playwright. In the 1970s he was a satirist of the agitprop movement whose plays (Slag, Knuckle) smacked of youthful belligerence. From Plenty (1978) onwards, he devoted two decades to writing ambitious, wide-ranging plays about the state of the nation, most notably with the trilogy comprising Racing Demon, Murmuring Judges and Absence of War (1990-1993). Meanwhile, in Skylight (1995) and Amy’s View (1997) he pondered the nature of love (following marriage to his second wife, the designer Nicole Farhi). But when Read more ...

David Hare is one of the giants of contemporary British theatre. His skill is to be the Balzacian social secretary who records the mood of the day. So his recent work has examined the state of the nation in a poetic rather than a literal way, and the result has usually been emotionally powerful and resonant. Whether the subject is Thatcherism in Skylight (1995) or New Labour in Gethsemane (2008), Hare is the man the National calls for whenever it feels the need to update us on the temperature of the times. But last night, as his new play, The Power of Yes, opened at the nation's flagship Read more ...

Bertolt Brecht was probably made for them: Deborah Warner directing Fiona Shaw in Mother Courage and her Children is as desirable a coupling, surely, as the Warner-Shaw Richard II or Happy Days, both immensely satisfying showcases for the director's imaginative reach and the actress's fabled versatility. Brecht's saga of the Thirty Years' War demands a challenging cross between Shakespeare's rich historical dramaturgy and Beckett's relentless density; so the must-see urgency of the German-speaking world's best-known play at the Olivier by two such - well, is it rude to call them veterans? - Read more ...