When Julie is on her way home from work, she is subjected to verbal abuse by a schoolboy at the train station. When she reports the incident to the boy’s school and stands up for herself and her principles, events quickly spiral out of control. Helen Edmundson’s play begins by introducing us to some intriguingly complex individuals: meek and conciliatory Julie, her artistic daughter Ginny, who is taking antidepressants; her practical and pragmatic ex-husband, Richard; and her elder daughter, Kate, who takes after her father. The complicated relationships between these characters capture our interest, as none is easily categorised. When another interpretation of the incident at the train station emerges, the apparently clear-cut act of abuse is called into question. The play ventures into challenging psychological and ethical territory, and the involvement of the police raises profound questions about how such situations are handled by the law. The audience is forced to reconsider easy ...

Written in 1903 and first performed in 1904, the year of Chekhov’s death, The Cherry Orchard is the Russian dramatist’s last major work. Described by its author as a comedy, it reflects on the end of an era. In the wake of the emancipation of the serfs in 1861, the play anticipates the Russian Revolution of 1905 and the even more cataclysmic events of 1917. At its heart is a social commentary on the decline of the aristocracy and the rise of a new middle class. The mood combines nostalgia for the past with apprehension about the inevitability of change. The clash between the old world and the emerging order is embodied by the impoverished Lyubov Ranevskaya (Kristin Scott Thomas), who returns from Paris to her Russian estate, and Yermolai Lopakhin (Stephen Mangan), a successful merchant whose family were once serfs on the Ranevskaya land. Far from being hostile to the family, Lopakhin wants to help them adapt to changing circumstances, even as Lyubov indulges in unaffordable displays o...

When Talulah leaves London to trace her ancestry, the journey takes her to the small town of Bullock Creek, South Carolina. The plantation where her five-times-great-grandmother Ginnie was enslaved is now a bed and breakfast run by Nora and her husband, James, a descendant of the original owners. Talulah hopes to contact the spirits of her ancestors to seek an answer to a question about her own circumstances. Instead, her visit raises the spectres of a troubled history that continues to haunt the American South and its inheritors. It prompts broader questions about how the historically oppressed and their oppressors deal with such abuses. In Joy Nesbitt’s Blood of My Blood , the enduring complexities of the relationship between past and present are reflected in the contradictions that shape the characters’ lives. Ginnie is torn between her affection for Doc, her white master, and her fear and resentment of the power he wields over her. As Ginnie, Ronkẹ Adékọluẹ́jọ conveys her emotional...

According to a well-known anecdote, Dorothy Hammerstein once overheard someone praising Jerome Kern for writing ‘Ol’ Man River’, the famous song from the 1927 musical Show Boat . Kern had composed the music, while her husband, Oscar, had written the lyrics. Mrs Hammerstein reportedly intervened, saying, “Jerome Kern wrote ‘dum, dum, dum-dum’. My husband wrote ‘Ol’ Man River’.” From the Heart celebrates the art of the lyricist, and Don Black is pre-eminent in his field. His writing ranges from witty to wistful, combining incisive satire with emotional insight. His lyrics capture the mood of a melody, giving voice to our feelings and shifting the emotional register in an instant. Although Black has worked with some of the finest composers, this is unmistakably the lyricist’s evening. Evoking the atmosphere of one of New York City’s wonderful after-hours cabaret clubs, the programme features familiar hits such as ‘To Sir with Love’, ‘Tell Me on a Sunday’ and ‘Born Free’, alongside the Bo...

Fairy tales are woven into every culture and childhood, offering both cautionary lessons and dreams of what might be possible. Stephen Sondheim’s Into the Woods brings together many of the old favourites, including Little Red Riding Hood, Cinderella, Jack and the Beanstalk and Rapunzel , weaving their stories around a Baker and his Wife who, having been cursed by a Witch, are unable to conceive a child. Their plight can be alleviated only if they complete a quest to bring the Witch a milky-white cow, some golden slippers, a red cape and some corn-yellow hair. To find them, they must venture into the woods, where the other characters are also pursuing their wishes and are equally lost. Through the dangers and confusions encountered in the woods, Sondheim explores the consequences of our choices, the responsibilities we have towards others, particularly children, and the difficulty of realising that we must move beyond the false binary of dependence or independence to interdependence. W...

In 1896, Puccini adapted Henri Murger’s Scènes de la vie de bohème into his opera La Bohème , telling the story of a group of young artists living in poverty in nineteenth-century Paris, where they faced hardship, illness and tuberculosis. Almost a century later, Jonathan Larson adapted the same material to the lives of marginalised young people in New York City, where poverty was compounded by drug addiction and AIDS. Tragically, Larson never saw Rent become a hit. He died aged 35 on the morning of its first preview in January 1996, but the show went on to transfer to Broadway, where it ran for 12 years and more than 5,000 performances, winning the Pulitzer Prize for Drama and four Tony Awards. It transferred to London in 1998 and was embraced worldwide as a portrait of a generation at the turn of the millennium. This latest production brilliantly captures the anger, angst and affection that bind this group of young people together. It does not explicitly draw parallels with the con...

Georg Büchner’s Woyzeck , written in 1836-37 and published posthumously in 1879, is acknowledged to be a series of fragments rather than a fully developed work. The challenge for any adaptor is to transform this political parable into a coherent and moving drama with psychologically complex characters. Woyzeck is the embodiment of the proletariat, exploited by those above him and subjected to a cruel scientific experiment. Given today’s political climate, with the power of oligarchs no longer concealed and the increasingly unsettling presence of AI, there would seem to be plenty here for an adaptor to explore. Unfortunately, this production fails to rise to the occasion. The characters remain largely one-dimensional and the story veers towards melodrama rather than tragedy. The decision to introduce Gaelic music and to create an almost céilí-like atmosphere is particularly unsuccessful. Some of the ballads are suitably plaintive, but their melancholy never deepens our understanding of ...

In a 1946 interview with the American journalist Jerome Seckler, Henri Matisse said, “I think that art must not be a disagreeable thing. There is enough unhappiness in life to turn one towards the joy.” The quotation might equally well describe Renoir’s attitude to painting. He stands out from his contemporaries in his celebration of humanity and his joyous embrace of modern life. The son of a tailor and a dressmaker, he came from a working-class background, yet his paintings rarely dwell on social questions. Instead, they embrace the world with an exuberance that is fundamental to his art. This exhibition, covering the first twenty years of Renoir’s working life, brings that joie de vivre into focus. Across six galleries, it traces his delight in the simple pleasures of good food, convivial company, romance and love through the themes of "The Bohemian Years", " Fêtes Galantes ", "Streets of Paris", "Beyond the City", "Family" and ...

Ham is a Fringe show that is a take-off on Hamlet , but here the central issue is Hamlet’s decision to be vegan while his mother, Gertrude, continues to enjoy her sausages. This situation is explained to us by the show’s co-creators, Mary Higgins, apparently a real-life vegan who plays Hamlet, and Ell Potter, seemingly a real-life carnivore who plays Gertrude. The production is structured around the five acts of Hamlet , taking dialogue from Shakespeare and re-contextualising it around the new premise. The two cast members manage to draw considerable humour from this exercise, but by the time we reach the play-within-a-play, there may simply be too many levels of reality for the audience to process. We have Mary and Ell as characters putting on a version of Hamlet that now contains another play, and matters become even more mind-boggling when that play, with its bizarre sexual domination premise, turns into an audience participation exercise. It all begins to feel rather awkward and ...

The premise is wonderfully simple. When four guests descend on the Bliss family for a quiet weekend in the country, things turn out to be considerably less than blissful. Judith, who has retired from the theatre, is finding the pleasures of rustic life no substitute for the satisfactions of the stage. She has invited down a young man who can provide the adulation she once enjoyed in her career. At the same time, her novelist husband David has asked a young woman to join them, hoping she might provide him with a model for the flapper in his latest novel. Add to this ménage their children’s invitations to two apparently unsuitable suitors and you have the makings of one of Noël Coward’s most successful farces. The hapless guests find themselves trapped in a family whose artistic members constantly turn their reality into a performance, with all the histrionics and artifice that entails. Coward is satirising not only the conventions of the theatre, with its exaggeration and falsification ...