Chris Wiegand

Dante Passarelli’s The Last Drop, presented by Manás Theatre Lab as part of the São Paulo Showcase at Edinburgh’s Zoo Playground, is a 60-minute dark domestic comedy influenced by Hamlet. Set in a decaying apartment amid corruption, construction and environmental disorder, it explores madness, revenge, surveillance, class inequality and housing insecurity through the marital conflict of Cynthia and Gilberto. The production is praised for its claustrophobic atmosphere, social commentary and sinister use of water and sound, although its rushed, plot-heavy final minutes weaken the effect.

Oisín Kearney’s Good With Faces is a tense two-hander about a social worker, Hegarty, questioning newly single mother Garrick after her son is found with a bruise. As the filmed assessment unfolds, suspicion shifts between them and an apparent professional inquiry becomes a psychologically charged power struggle. The production uses pauses, dark comedy, discordant sound and mundane motifs to explore blame, shame, abuse, parenting and care work amid economic pressure. The review praises the performances by Patrick McBrearty and Clodagh Mooney Duggan, calling the play an assured and engrossing thriller with potential for a wider transfer.

The Royal Shakespeare Company has premiered Game of Thrones: The Mad King at the Royal Shakespeare Theatre in Stratford-upon-Avon after cancelling five previews to refine the ambitious production. Adapted by Duncan Macmillan and directed by Dominic Cooke, the 225-minute play focuses on the previously unseen Harrenhal jousting tournament and features characters from several major Westerosi houses. The entire run has sold out, attracting both established theatre audiences and Game of Thrones fans, while the RSC hopes the production will broaden its audience and generate income after a recent restructuring. The launch also prompts debate about the company’s reduced emphasis on Shakespeare and its ongoing financial pressures.

The Guardian recommends a range of theatre productions available to stream, led by the 50th-anniversary revival of David Hare’s rock drama Teeth ’n’ Smiles, starring Rebecca Lucy Taylor, also known as Self Esteem. Other selections include Michaela Coel’s Chewing Gum Dreams, a historic Romeo and Juliet from Canada’s Stratford Festival, Marco da Silva Ferreira’s protest dance work F*cking Future, the National Theatre’s Hamlet, the queer performance history series The Pansy Craze, the musical mystery album Murder at the Gates, and Rafaela Carrasco’s flamenco ballet Humo.

Director Yngvild Aspeli’s production Dracula: Lucy’s Dream brings a psychologically charged, puppet‑led reimagining of the Dracula story to the Edinburgh fringe, centering Lucy’s perspective and exploring themes of trauma, manipulation and illusion. Using lifesize bunraku‑inspired puppets, spectral lighting and atmospheric sound, the French‑Norwegian company Plexus Polaire crafts a dark, adult‑oriented theatrical world that highlights the growing acceptance of puppetry as serious performance art. Aspeli emphasizes the balance between actors and puppets, the power of illusion and the need to dispel assumptions that puppetry is children’s entertainment.

A selection of standout Edinburgh festival 2026 productions spans solo theatre, circus, musical parody, clowning and personal storytelling. Reviewers highlight Bryony Kimmings’ climate‑focused Bog Witch, David Elms’ understated improv, a verbatim account of prison failures in Woodhill, Alaa Shehada’s joyful yet harrowing memories of Jenin, and Gravity and Other Myths’ acrobatic Ten Thousand Hours. Additional praised works include Flo & Joan’s Andrew Lloyd Webber spoof, Creepy Boys’ surreal Slugs, Emily Weitzman’s inventive memoir‑performance Furniture Boys, Sadiq Ali’s HIV‑focused Tell Me, and Sam Nicoresti’s farcical Baby Doomer.

The Duke of York’s theatre in London will be renamed the Tom Stoppard theatre in recognition of the late playwright’s major influence on British theatre. The change coincides with a revival of his play Arcadia, currently running at the venue, which has also previously hosted several of his successes. Tributes from his family, collaborators and industry figures highlight his legacy, work ethic and enduring impact on the West End. The announcement follows similar honours, including the upcoming renaming of the Shaftesbury theatre after Judi Dench.

Rosamund Pike’s award‑winning performance in Suzie Miller’s legal drama Inter Alia leads a selection of theatre and audio productions newly available to stream, including the National Theatre’s Summerfolk, the original cast recording of Paddington: The Musical, and the revival of Peter Shaffer’s Black Comedy at the Orange Tree Theatre. Additional highlights include the audiobook musical Following Jimmy Valentine, the dance film Midnight Souls from Avignon, Margot Fonteyn’s masterclass series The Magic of Dance, and Lena Headey’s new audio drama Intimacy, set to debut on BBC Sounds.

Trafalgar Entertainment has acquired the London Theatre Company, including the Bridge theatre and Lightroom venue, from founders Nicholas Hytner and Nick Starr. Hytner and Starr reflect positively on the nine‑year project and the theatre’s artistic achievements. Trafalgar’s leaders commit to sustaining the Bridge’s momentum and expanding opportunities as part of their broader portfolio of more than 20 venues. Upcoming Bridge projects include Simon Stone’s new version of The Oresteia and the West End transfer of Into the Woods.

James Norton will play Hamlet in a new West End production directed by Thomas Ostermeier, marking Norton’s first major Shakespearean stage role. Ostermeier, known for bold interpretations of classics, returns to the play for his first English-language Shakespeare production. Norton, whose past stage work includes A Little Life and several Shakespeare roles at Cambridge, expressed both excitement and fear about taking on the part. Details on the production’s venue, dates and full cast are forthcoming.

Lin-Manuel Miranda and Eisa Davis’s concept album based on The Warriors is being adapted into a Broadway musical set to open at the Lunt-Fontanne theatre next spring. Andy Blankenbuehler and Jenny Koons will co-direct, with Blankenbuehler also choreographing. The musical will feature a cast of about 20 and include a full book rather than a sung-through format, differing from the star‑studded 2024 concept album that featured major artists such as Lauryn Hill, Marc Anthony, Nas and Busta Rhymes. The story, inspired by Sol Yurick’s novel and the 1979 film, will retain the gender‑switched Warriors crew introduced in the album, though casting for the stage production has not yet been announced.

Peter Marinker prepares to revisit Krapp’s Last Tape while navigating Alzheimer’s symptoms, drawing on past experiences and long-standing connections to Samuel Beckett’s work. Supported by Cockpit Theatre and using recordings from his 1983 performance, he reflects on memory, ageing, and artistic legacy, interweaving insights from his career in theatre, film, radio, and video games. His evolving relationship with memory informs both his portrayal of Krapp and his personal creative expression.

London’s award‑winning Paddington: The Musical will open on Broadway on 30 March at the Al Hirschfeld Theatre following its critical and commercial success in the West End. Based on Michael Bond’s book and the 2014 film, the production features music and lyrics by Tom Fletcher and a book by Jessica Swale. Producers and creative leads expressed enthusiasm for bringing the show to New York. London’s cast earned multiple Olivier awards, while tickets for both cities continue to sell strongly.

A stage production combining Shakespeare’s Hamlet with Radiohead’s album Hail to the Thief will open at London’s Barbican after previous runs in Manchester and Stratford-upon-Avon. Co-created by Thom Yorke with directors Steven Hoggett and Christine Jones, the show features reworked live performances of the album that amplify the play’s themes. Samuel Blenkin reprises his acclaimed role as Hamlet, and several original cast members will return. Newly mixed live recordings of the album were also released last summer.

The London and New York productions of Stranger Things: The First Shadow will close this winter after strong runs marked by Olivier and Tony awards and more than 1.5 million tickets sold. The announcement follows record-breaking success for the TV series’ final season, while the creators and producers praised the play’s innovation and impact, particularly for introducing many audience members to theatre. Future ticket availability remains strong, and cast members from the TV series continue to appear in notable West End productions.

A selection of notable theatre and dance productions available to stream includes the Tony‑nominated revival of Fallen Angels, historic ballet performances, filmed musicals such as Rent and Oklahoma!, and acclaimed productions like The Audience and Cyrano de Bergerac. Additional offerings include a radio adaptation of Flip! and a film of François Chaignaud’s performance created for the Louvre.

A visually striking but uneven musical adaptation of Beetlejuice delivers inventive designs, lively performances and clever effects, yet suffers from chaotic humor and forgettable songs. Strong work from Hannah Nordberg and an imaginative production team anchors an otherwise scattershot staging that prioritizes shock-jock antics over emotional coherence.

A dance-theatre reinterpretation of Hamlet by Dada Masilo reshapes key character arcs, particularly those of Ophelia and Gertrude, through intense choreography and minimal dialogue. The production blends movement styles and relies heavily on percussive composition, achieving moments of emotional clarity but losing cohesion in later scenes. Dual performers split the role of Hamlet, while reimagined sequences heighten themes of grief, paralysis and communal decay. Despite some diminished soliloquies and a lack of full dramatic unity, the staging offers several potent and visually striking moments.

A new Mischief Theatre musical traces the origins of acting through a comic story of Thespis, blending puns, theatrical tropes and knowingly low-budget staging. Performances and compositions strengthen through the evening, with standout character moments and playful references to classic musicals. Despite occasional slow pacing, the show is highlighted for its warmth and emphasis on empathy, offering a heartfelt celebration of community and performance.

A revival of Peter Quilter’s End of the Rainbow showcases Jinkx Monsoon’s powerful and nuanced portrayal of Judy Garland, balancing sharp humour with emotional musical performances. Strong design, lighting and musical direction enrich the production, though the script’s limitations and repetitive hotel scenes hamper dramatic momentum. Monsoon’s performance transcends impersonation, especially in concert sequences, but the show’s structure restricts the full potential of her interpretation.

Jessica Vosk urged fans not to bypass security after a stranger followed a group into her dressing room during a performance of Beaches. She described the encounter as frightening and emphasized the need to prioritize her health by avoiding stage door appearances. Fellow actors including Kristin Chenoweth, Kay-Megan Washington and Lea Salonga expressed support and highlighted similar incidents, noting a growing problem with boundary violations in theatre environments.

A new 30th‑anniversary revival of Jonathan Larson’s musical Rent will open at London’s Duke of York’s theatre in September, starring Gaten Matarazzo in his West End debut and directed by Luke Sheppard. The production builds on Sheppard’s earlier Manchester staging and is supported by major West End producers in partnership with Hope Mill Theatre. Creative team members from recent acclaimed shows join the project, which highlights themes of identity, community, gentrification and artistic struggle. A separate celebration of Larson’s work, The Jonathan Larson Project, will run at Southwark Playhouse over the summer.

A new musical titled Grayson the Musical will dramatize the life of artist Grayson Perry, covering his upbringing, artistic development and themes of identity, creativity and belonging. Co‑created by Perry with composer Richard Thomas and writer Sara‑Ella Ozbek, the production will feature Perry’s iconic teddy bear Alan Measles and incorporate elements of comedy and personal reflection. Directed by Sean Foley, the workshop run will take place in July at Soho Theatre Walthamstow, building on Perry’s previous autobiographical work and stage projects.

Ian McKellen will return to the stage as King Lear in the inaugural season of the newly rebuilt Yard Theatre in east London, marking his first major theatrical role since a 2024 stage accident. The production, developed with playwright Simon Stephens and directed by Jay Miller, highlights the venue’s expansion and continued commitment to innovative theatre. The season also features revivals, international productions, new adaptations and contemporary works, underscoring the Yard’s influence in fostering emerging talent and experimental performance.