Culture

The Ministry of Lesbian Affairs is a comedy that feels as sweet and comforting as a knickerbocker glory. The show is set in a leaky scout hut where a bunch of lesbians meet to perform choral music. The conductor, Connie, has the bluff, good-natured energy of an RAF squadron leader. ‘Snippety-snap,’ she calls as she

Stereophonic is a slow-burning drama set in an American recording studio in 1976. A collection of hugely successful musicians, loosely based on Fleetwood Mac, are working on a new album which they hope will match the success of their previous number one smash. This is an absolute treat for anyone who appreciates subtle, oblique and

Actors are easily bored on long runs. Phoebe Waller-Bridge once revealed that she staged distractions in the wings to amuse her colleagues. On the last night of Hay Fever, egged on by another actor, she bent over ‘and showed [her] arsehole’ to the on-stage actors. Nabokov’s plays are seldom performed. But he was alive to

George Bernard Shaw’s provocative play Mrs Warren’s Profession examines the moral hypocrisy of the moneyed classes. It opens with a brilliant young graduate, Vivie Warren, boasting about her dazzling achievements as a mathematician at Newnham College, Cambridge. She explains her future plans to a pair of mild-mannered chaps who clearly adore her. Like most of

Sanity returns to the Globe. Recent modern-dress productions have failed to make use of the theatre’s virtues as a historical backdrop. The Crucible by Arthur Miller is set in the 1690s (about a century after Shakespeare’s heyday) and the script works beautifully on this spare, wooden stage. To make the groundlings feel involved, the playing

Richard Bean appears to be Hampstead Theatre’s in-house dramatist, and his new effort, House of Games, is based on a 1987 movie directed by David Mamet. The script sets up a rather laborious collision between two vastly different cultures. A gang of small-time crooks in Chicago are visited by a beautiful, high-flying, Harvard-educated academic who

Two hours of yakking about Israel. That’s all you get from Giant at the Harold Pinter Theatre. Endless wittering laced with venomous bigotry. The year is 1983 and the celebrated kiddie author, Roald Dahl, has kicked up a massive stink by denouncing Israel for attacking Lebanon in late 1982. His latest scribble, The Witches, is

The Gang of Three gets into the nitty-gritty of Labour politics in the 1970s. It opens with the resignation of Roy Jenkins as deputy leader in 1972 in a desperate attempt to quell the party’s growing hostility to the Common Market. He holds a council of war with Anthony Crosland, his old Oxford chum, and

My Master Builder is a new version of Ibsen’s classic with a tweaked title and a transformed storyline. Henry and Elena Solness are a British power couple living in the Hamptons whose relationship is in meltdown after the accidental death of their son. Elena has scrambled to reach the top of the publishing world but

Tending is a work of activism on behalf of the NHS. The script brings together the testimony of 70 nurses in a show spoken by three performers. It’s full of surprises and shocks. All NHS nurses are obliged to annotate their actions as they work. ‘If you haven’t documented it, you haven’t done it,’ they’re

Rhinoceros by Eugene Ionesco is a period piece from 1959. It opens with the invasion of a French village by a herd of rhinoceroses. This paranormal event is never explained. In Act Two, the villagers start to imagine that they’ve become rhinoceroses and changed species. But one plucky sceptic, who defies conformity, refuses to swap

Robert Icke’s new play examines one of the least appetising characters in British criminal history. Raoul Moat went on a shooting spree in July 2010 that left his wife injured, a cop blinded and an innocent man dead. This superb piece of reportage offers us a glimpse into the mind of a damaged brute. Moat

Amanda Abbington’s new show is heavily indebted to Noël Coward’s Hay Fever.Coward’s early play follows the tribulations of the superficial Bliss family and at first it was rejected by producers because it lacked action or incident. The oddly titled show, (This is not a) Happy Room, opens on the eve of a family wedding. Disaster

My Neighbour Totoro is a hugely successful show based on a Japanese movie made in 1988. The setting is a haunted house occupied by two little girls who encounter various creatures rendered on stage by puppets. The story has no action, danger or jeopardy so it’s likely to bore small boys and their dads. Perhaps

Cher Horowitz, the central character in Clueless, is one of the most irritating heroines in the history of movies. She’s a rich, slim, beautiful Beverly Hills princess obsessed with parties, boys and clothing brands. According to her, the world’s problems can easily be settled by using the solutions she applied to the seating plan at

Punk rock, packaged, parcelled, and boxed up as a treat for nostalgic wrinklies. That’s the deal with Punk Off!, a touring show that recently completed a lap of the country at the Dominion Theatre. Most of the audience were there to recall their rebellious heyday. ‘It’s about to get really, really loud,’ announced the compère,

The Score is a fine example of meat-and-potatoes theatre. Simple plotting, big characters, terrific speeches and a happy ending. The protagonist, J.S. Bach, receives a mysterious summons from Frederick the Great of Prussia. The long first act takes us through Bach’s professional woes and his physical infirmities. His weak vision is being treated by an

Nicholas Hytner’s Richard II is a high-calibre version of a fascinating story. A king reluctantly yields his crown to a usurper who wants his violent revolt to seem like a peaceful transfer of authority. This delicate, complex narrative is presented as a boardroom power struggle in corporate Britain. Snappy suits for the dukes and princes.

Unicorn, Mike Bartlett’s new play, involves some characters in chairs discussing a sexual threesome. That’s the entire show. Polly (Nicola Walker) is a drunken crosspatch who wants to spice up her loveless marriage to Dr Nick (Stephen Mangan) by bringing a blonde lesbian into the bedroom. Nick, a dithering twerp, doesn’t care if it happens

The Years is a monologue spoken by a handful of actresses, some young, some old enough to carry bus passes. They stand in black costumes on a white stage explaining to us the significance of memory, history and feelings. Then the story begins. The narrator is a precocious chatterbox born in France during the war

Oliver! directed by Matthew Bourne is billed as a ‘fully reconceived’ version of Lionel Bart’s musical. Very little seems to have been reconceived. This stylish and dynamic show develops like an unblemished copy of Carol Reed’s film. Fair enough. Punters want comfort, not novelty when they go to see a 65-year-old musical. Billy Jenkins, as

Santi & Naz is a drama set in the Punjab in 1947 that uses an ancient and thrilling storyline about domestic violence. The main characters are a pair of young lesbians who plot to kill Naz’s bridegroom, Nadim, on the eve of the wedding. They discuss stabbing or poisoning him and eventually they decide to

The West End’s new political show, Kyoto, can’t be classed as a drama. A drama involves a main character engaged in a transformative personal journey. This is a secretarial round-up of various environmental summits, or ‘Cop’ meetings, held during the late 1980s and 1990s. If you remove the private jets, a Cop summit is a

The Tempest is Shakespeare’s farewell, his final masterpiece or, if you’re being cynical, the play that made him jack it all in. Some actors admit that it can be hard to stage and dull to perform. What is it exactly? A children’s fairy tale and a soppy romance with snatches of drunken farce and political

The Invention of Love opens with death. Tom Stoppard’s play about A.E. Housman starts on the banks of the Styx, where the recently deceased poet is waiting for Charon, the boatman, to ferry him across the water. Charon has been told to pick up ‘a scholar and a poet’ and he’s expecting two souls, not

The Last Days of Liz Truss? is a one-woman show about the brief interregnum between Boris Johnson and Rishi Sunak. We first meet the future prime minister at a nursery school in Paisley where she orders the teachers to call her Elizabeth and not to use her first name, Mary. This establishes her combative, self-righteous