Theatre

Dear Evan Hansen, by Steven Levenson, opens as a standard American teen-angst musical. Evan is a sweaty geek with a crush on Zoe Murphy whose rebellious brother, Connor, is so disturbed that he styles his hair to suggest ‘school-shooter chic’. Evan tries to befriend Connor but gets shoved to the ground. Then, a bombshell. Connor kills himself. By an amazing but credible coincidence Connor’s parents start to believe that Evan was good pals with their deceased son. And Evan exaggerates the depth of the friendship in order to help the family, and especially the mother, cope with their grief. He even fabricates an exchange of emails in which Connor appears

When the RSC does modern drama it usually lays on an ultra-worthy yarn with a huge cast, dozens of fancy costumes and a three-hour running time. Miraculously, its new co-production with the Arcola avoids these faults and delivers a terse, gripping 75-minute documentary drama based on the prison diary of Turkish journalist, Can Dundar. In 2015 Dundar received proof that his country’s intelligence service was attempting to supply arms to Syrian rebels. He knew that if he released the material he might face jail but he published it anyway and was threatened with life imprisonment. Peter Hamilton Dyer, well known for impersonating journalists, plays Dundar as a loveably cerebral type

The Antipodes, by the acclaimed dramatist Annie Baker, is set in a Hollywood writers’ room. Seven hired scribblers are brainstorming a new animated feature under the direction of a mysterious, bearded multimillionaire, Sandy, who seems thoroughly bored with the movie-making process. The script is in its early stages and Sandy decrees that the central character must be a monster. That’s all. The writers can fill in the details. He asks them to indulge in a free-association experiment by describing their first sexual encounter or the scariest moment in their lives. Long speeches follow. Very long, some of them. Sandy loses interest in the project, not surprisingly, and starts to absent

The Royal Court is the theatre’s answer to Islamic State, a conspiracy of nihilists fascinated with death, supported by groups of self-flagellating puritans, and committed to inflicting pain on all who stray into its orbit. The latest fatwa from Sloane Square concerns the imminent demise of the Welsh language — an emergency for which there seems to be scant evidence. On Bear Ridge by Ed Thomas proclaims its amateurish origins with stage directions that belong in Pseuds Corner. ‘Spindly winter branches dance on a fading sign,’ is Thomas’s attempt to create a ghostly mood. The setting is a derelict village shop where ‘ancient bluebottles cling to death on sticky brown

‘Everyone of us knows we deserve to be punished,’ says the frail old man before me in a hotel café. ‘You and I for instance. What have we done this morning that is good? What have we done to resist the ruination of our planet? Nothing. It is terrifying!’ Peter Brook fixes me with blue eyes which, while diminished by macular degeneration that means he can make me out only dimly, shine fiercely. But for the genteel surroundings and quilted gilet, he could be Gloucester or Lear on the heath, wildly ardent with insight. ‘Think of Prospero. He’s a bad character, hell-bent on revenge for his brother’s wrong, a colonialist

What does it mean to be a successful comic? Richard Herring isn’t sure. He’s been a ‘professional funnyman’ for nearly 30 years, yet — as he’s the first to admit — he’s largely unknown beyond the circuit. Even then he has doubts. ‘I’m never in those top-100 stand-up lists,’ he says, when we meet in Soho ahead of his new tour. He admits his old shows have largely been forgotten and he hasn’t been to an awards ceremony for decades. As promo strategies go, it’s a curious one. But then Herring is an odd one. In the late 1990s, he was part of a new wave of Oxbridge-educated fame-hungry young

The Man in the White Suit, famously, is a yarn about yarn. A brilliant young boffin stumbles across an everlasting polymer thread but when he tries to profit from his discovery he faces unexpected ruin. There are only three beats in the story — breakthrough, triumph, disaster — so it needs to be elaborated with some skill. Writer/director Sean Foley does a superb job of making the gaps unnoticeable. He aims for the farcical texture of a pantomime and he opens the story in a cheery northern pub where working-class men and women sit around as equals, sharing pints of ale. Rather a fanciful view of 1950s England but never