3.0
Review: Godot is a Woman, Pleasance Theatre
It is 2021 and the company of Silent Faces are still
waiting for Godot. But there is just a tiny problem – they are not men. Josie
Underwood, Jake Wakely and C...
Samuel Beckett
3.0
4.0
Review: Connecting Voices: Krapp’s Last Tape, Leeds Playhouse
Niall Buggy shuffles onstage as Krapp, the miserable outsider, eating a banana and preparing for his annual self-torture - a birthday recording documenting the...
Review: The Prisoner, The National Theatre
“I am here to repair”, calls out our lead, surrounded by the sun-drenched desert. His story is entrapped by its own ideas, aesthetically interesting, but themat...
Review: Split Ends, The Cockpit Theatre
Sometimes a piece of theatre can aim too high, extending its hands out far beyond its actual reach, trying for something admirably complex but ultimately unatta...
Review: No’s Knife, Old Vic
In a way you know what you get with Beckett. The sparse, unsentimental text; the ghostly, post-apocalyptic staging. But a new performance or, even more exciting...
Review: Beckett In London: The End, Print Room
The most remarkable aspect of this show is the direct communication with the audience and the eye contact that the actor, Conor Lovett, is constantly keeping wi...