For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy spoils the audience with stories upon stories upon stories without missing a beat. It’s a must watch on so many levels I hardly know where to start. There’s the cinematic production values, the greatest contemporary monologue I’ve ever seen delivered on stage, the ensemble movement, the absolute rejection of structural narrative, and the simple joy of watching black boys play, love, fight, hug, dance, sing, and cry in a way I have never seen done before on stage, TV, or film outside of a queer specific context.

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Courtesy of Johan Persson.

It felt rather monumental being in the room at the Royal Court last night. Caryl Churchill is without doubt one of our greatest living playwrights, and after amassing such a huge amount of hits under her belt, her latest offering is just as superb. Throughout the evening, four very different plays are presented. They discuss lots of interesting things: Gods, murder, clocks, magical creatures, addiction, accountability, perception – the list goes on.

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Jack Thorne and John Tiffany are usually a dream pairing, and after having created one of the most successful cultural hits of this decade (Harry Potter and the Cursed Child), the duo reunite at The Royal Court, yet this time they create a slightly lukewarm production, which doesn’t reach its full potential.

Courtesy of Johan Persson.

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We all know that our forefathers and their forefathers before have been in a constant game of revenge since the first two men on earth took vengeance on each other to defend their own beliefs. Fathers at war with themselves and others is what has driven countries and communities apart for far too long.

Courtesy of Helen Murray.

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With the Royal Court I often find that it’s the smaller shows upstairs in the Jerwood that are actually the most powerful explosions across the London theatre scene. Clean Break’s Inside Bitch is no different.

Courtesy of Ali Wright.

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“But what can I do?”

Those who watch Still No Idea at the Royal Court this winter are likely to be left asking the same question as this “white, middle-class and not disabled” audience member no matter who they are whose question concludes this thought provoking two-person piece.

Courtesy of Camilla Greenwell.

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In celebration of our 5th birthday this July, we’ll be collaborating with 5 theatres to give away a pair of tickets to 5 of London’s top theatre shows. You could win a pair of tickets to: The Secret Lives of Baba Segi’s Wives at the Arcola, Pity at the Royal Court, The One at Soho Theatre, Che Malambo at Sadler’s Wells or Circolombia at the Underbelly.

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Following a successful run at The Royal Court Theatre in London, Minefield is back, taking audiences through the untold tale of The Falklands War. Both British and Argentinian actors reveal their untold secrets, facing up to the past and sharing honest memories of this tragic tale of blood, sweat and tears.

Courtesy of Tristram Kenton.

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In a word this play is sublime. It’s so much about what great theatre is all about and goes down like a crowd-pleasing plate of soul food. It is distinctly black and rich enough for all to enjoy.

Courtesy of Tristram Kenton.

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Carey Mulligan performs a Dennis Kelly script, under Lyndsey Turner’s direction. I’ll just let that sentence sink in for a moment. It sounds brilliant, right? Well it is, and this dream offering from the Royal Court does not disappoint.

Courtesy of Marc Brenner.

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