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...
Edinburgh Fringe Review: Krapp 39, Pleasance Courtyard
It’s a bold move. Taking direct inspiration from the most iconic Irish playwright of the twentieth century, Samuel Beckett, actor and writer Michael Laurence ha...