Drama

The stage goes dark for what seems a heartbeat, then a single spotlight finds a young actor as they step across an invisible border. They turn slowly, reach toward emptiness, and utter, “Into the wood we go.” That moment, so simple and still, pulls me into A Midsummer Night’s Dream at Southwark Playhouse not as an audience member but as a trespasser in someone else’s dream.

It starts not with a speech, but with a scent. As Isabella Nefar grinds saffron threads between her fingers, the sharp fragrance drifts through the theatre, pulling the audience in like a memory you can taste. She stirs a pot on stage, the light catching the golden hue of the broth. For a moment, the room feels less like Soho Theatre and more like a family kitchen on a quiet Tehran afternoon.

Entering the Charing Cross Theatre this summer promises a captivating evening where history, mystery, and introspection entwine. The Daughter of Time brings Josephine Tey’s beloved novel into the theatrical spotlight—setting Scotland Yard’s Inspector Alan Grant in a post‑war hospital room, probing the age‑old question: did Richard III really murder his nephews, the Princes in the Tower? What starts as a way to fill idle hours with detective curiosity swiftly becomes a drama fueled by historical injustice and personal awakening.

Stepping into Dick. at Riverside Studios feels like entering the aftermath of a late-night reckoning—a dimly lit living room washed in red light, where five friends circle each other, bracing for honest admissions that are both thrilling and terrifying. This production, born from the success of its London and Edinburgh Fringe runs, wears its boldness on its sleeve: seductive, awkward, sometimes sprawling, but undeniably alive.

Attending Radiant Boy at the Southwark Playhouse was an experience that lingered long after the final curtain. Set in the snow-laden backdrop of North-East England in 1983, the play delves into the life of Russell, a trainee singer plagued by mysterious ailments and eerie occurrences. His mother, Maud, desperate for answers, invites a young priest who believes Russell is possessed.

Attending "ASBO BOZO" at Riverside Studios was an unforgettable experience that challenged perceptions and provoked deep reflection. This contemporary production delves into the complexities of modern identity, societal expectations, and the often-blurry line between sanity and madness.

Much Ado About Nothing Remixed, presented by Intermission Youth Theatre at the Collective Theatre in London, is a vibrant and modern reimagining of Shakespeare’s beloved comedy. Directed by Nana Antwi and written by Darren Raymond, this adaptation places the drama in a contemporary London context, intertwining the timeless themes of love, deception, and gender dynamics with Gen-Z flair.

"Giant" at the Royal Court Theatre is a hard-hitting, intricately layered drama that scrutinizes the controversial legacy of beloved children's author Roald Dahl, particularly the antisemitic views that marred his reputation. Written by Mark Rosenblatt and directed by the acclaimed Nicholas Hytner, the play explores the aftermath of Dahl’s 1983 public outburst in which his antisemitic sentiments caused widespread outrage. Set against the backdrop of his rural family home, the plot unfolds in a single, tension-filled afternoon where Dahl faces pressure from his publishers, friends, and loved ones to issue a public apology.

Death of England: Closing Time at sohoplace is a theatre powerhouse that catapults one deep into the raw examination of Britain today. This final installment of Clint Dyer and Roy Williams' trilogy delves into race, class, and identity with a depth so honest, yet searing, and emotionally profound.