When I went to the box office I could only say, ‘I’ve come to see the play tonight. I forget the title’. The Box Office Assistant couldn’t remember either, she had to look it up. Phew, at least it wasn’t sold out. I had come to see the work of David Leddy. I had heard of his capabilities from a guy in a pub who used to process their funding applications, and thought his work worth tracking down.

I’m glad I made the effort. If you are looking for how big a play you can…

Alan Harris, ubiquitous as a writer of quirky, engaging dramas across the breadth of South Welsh theatre production, and Martin Constantine, ubiquitous as a director of youth and college opera in Cardiff, have created a trans-media production which investigates our vision of a shared future with a significant other. It is always funny and shapes up into a neat dramatic argument as its novel structure begins to settle into a pattern in your mind.

Two people…

If there is a crisis in the reviewing of British theatre it is this. It seems impossible that a critic can go to press saying, ‘I loved it; it was amazing; you really have to see it, because I was so involved and delighted that my faculties of analysis were overcome and I surfed a wave of joy through the white waters of all that is theatre’.

I went to see ‘Roberto Zucco’ last night at Chapter; Bernard-Marie Koltes’ play about the non-fictional serial killer.…

The Children's Hour is one of the American classic plays. It is guilty of providing, in the first half, little colour beyond the clarification of the plot points which will fuel the crisis of the unstaged trial in the second half, but characters are well-defined, and usher us into a second half which explodes into a tragedy of the decent undone by those in denial of their own guilt and recklessly devoid of empathy. As such, it is a play with which, either on a personal or political level, we…

Baroque opera is a slightly difficult art form. People find the repetitions tedious, and the plots trite, but I have always thought of baroque music as having an especially simple beauty which a good production can ignite into joy, excitement and profundity. Have I ever witnessed it? Yes. Have I ever witnessed it for the entire duration of a production? Well, no, but I'm certainly willing to gamble on a baroque opera displaying enough good properties to raise my spirits.

WNO's…

"Edgy". The word renders my teeth so. Humour puffed-up as "edgy" makes me think of Woody Allen's quip about satire not being as effective as bricks and baseball bats. English satire on the BBC, of which I tire, encourages us, say, in the face of Murdoch influence in the police and at No10, to snigger, sneer and have another pint. When Jonathan Swift reached for his pen, it became a baseball bat, and 'Gulliver's Travels' was being read 'from the Cabinet Office to the nursery'. Such is the…

Go. This production gives the spectator a chance to witness the power of Shakespeare in unique new ways, and, as with all productions which align themselves to serve his talent, Shakespeare emerges as the glittering star of the evening. Some of Bertold Brecht's adaptation is in there somewhere, in the simplified language of the citizens.

This was my second Shakespeare of the week. As with the Wooster Group's foray into 'Troilus and Cressida', there was a serious attempt to…

I had, in the past, considered going to New York to see the Wooster Group. I made the commitment to drive back home late at night from the Swan Theatre In Stratford on Avon to save me an air fare. I managed to get one of the last remaining tickets for one of the previews. In a co-production with the Royal Shakespeare Company, they have created a production of Shakespeare’s ‘Troilus and Cressida’, having rehearsed separately for a time, and joining together for final and production…