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Features several plays to be shown in theaters in London, England in summer 2004. "Guantanamo: Honor Bound to Defend Freedom" at the Tricycle Theater; "The Dawn of a New Iraq--or a Return to Secrecy and Killing?" at the Guardian Theater; "The Goat" at the Apollo Theater; "History Boays."

Focuses on performances of Greek plays in London, England. "Iphigenia at Aulis" by Euripides at the National Theatre; "Cruel and Tender" by Martin Crimp from Sophocles' "Trachiniae"; Plots, settings and characters; Performances by individual actors.

The article offers information on works regarding portrayal of libidos and human sexuality in theatrical performances in London, England.

The article reviews the revival of plays by Arthur Miller including "The American Clock" played at Old Vic Theater, London, "Berberian Sound Studio" at Donmar Warehouse, London, England, and "The Price" at Wyndham's Theater, London, England.

The article reviews the depiction of politics in theatrical productions, including of the plays "Richard III," written by William Shakespeare, directed by Rupert Goold, starring Vanessa Redgrave, Ralph Fiennes, Tom Canton, at Almeida Theater in London, England, "The Spoils," written by Jesse Eisenberg, directed by Scott Elliott, starring Eisenberg, Alfie Allen and Kunal Nayyar at the Trafalgar Studios in London and "The Plough and the Stars," written by Sean O'Casey at the National Theater in London.

The article reviews a revival of the theatrical production "Ma Rainey's Black Bottom" at London, England's National Theater which is directed by Dominic Cooke and features Sharon D. Clarke, as well as the play "The Master Builder" starring Ralph Fiennes at London, England's Old Vic theater.

The article reviews several 2015 theater performances in London, England, including the play "Three Days in the Country," by Ivan Turgenev, directed by Patrick Marber, at the National Theater, "Operation Crucible," by Kieran Knowles, at the Finborough Theater, "The Trial," by Franz Kafka, adapted by Nick Gill, at the Young Vic theater.

The author reviews several theatrical productions he attended while visiting London, England, including the plays "Antony and Cleopatra" directed by Jonathan Munby, "The Silver Tassie" written by Sean O'Casey, and "Red Forest" directed by Nicolai Khalezin.

The article reviews three theatrical productions staged in London, England in July of 2014: Alain Boubil's and Claude-Michael Schonberg's musical "Miss Saigon," directed by Cameron Mackintosh and starring Eva Noblezada and Alistair Brammer; Sean O'Casey's play "The Silver Tassie," directed by Howard Davies and starring Ronan Rafferty; and Peter Brook's and Marie-Helene Estienne's play "The Valley of Astonishment," directed by Brook and Estienne and starring Marcello Magni and Kathryn Hunter.

The author presents an evaluation of his three weeks spent attending theatrical productions in London, England during the summer of 2007. British critics are pessimistic about the commercial and artistic future of theater there. The author, by contrast, attended many plays, both contemporary and revivals, that challenged him as a critic and satisfied him as a lover of theatrical entertainment. He cites the National Theater's production of "Philistines," by Maxim Gorky.

The article presents information on the theatrical productions that are being performed at various theaters in London, England, through July 2006.

This article reviews a revival of the theatrical production "Evita," appearing in London, England and starring Elena Roger.

The article reviews several theatrical productions currently being performed in London, England, including "The Wild Duck," written by Henrik Ibsen and starring Paul Hilton and "Night of the Iguana," written by Anthony Paige and starring Woody Harrelson and Jenny Seagrove.

Observes that over the past few years, more British-bred plays and musicals for the family audience are offering dark themes. The macabre impact of "Shockheaded Peter," inspired by grim cautionary tales of the Victorian era; Background on "His Dark Materials," the National Theater's adaptation of Philip Pullman's epic series of fantasy novels; Perception of Matthew Bourne's restaging of Tchaikovsky's "Nutcracker" ballet as a fable of sexual repression among abused orphans; Controversy around the latest interpretation of P. L. Travers' "Mary Poppins" at the Prince Edward Theater in London; Idea that gruesomeness is good for growing minds; Reference to "The Uses of Enchantment," Bruno Bettelheim's defense of the violence in classic fairy tales.

Reviews several theatrical productions in London, England. "Brand," starring Ralph Fiennes; "The Lady from the Sea," starring Natasha Richardson; "The Master Builder," starring Patrick Swayze; "Absolutely! (Perhaps)," directed by Franco Zeffirelli.

LONDON WHEN the cannibal pie maker Mrs. Lovett sings, ''Times is hard'' in the popular revival of ''Sweeney Todd'' at the Adelphi Theater, the words reverberate. Played by Imelda Staunton as the ultimate avatar of British can-do gumption, Mrs. Lovett inhabits a visual landscape guaranteed to set off alarm bells in audiences here. That's in addition to the usual tensions that come from knowing that many throats will be cut before the evening ends. [ABSTRACT FROM AUTHOR]

LONDON -- Words don't come easily in the opening moments of ''Minsk, 2011: A Reply to Kathy Acker,'' the lacerating new work from the Belarus Free Theater. The latest offering from this astonishing troupe in exile, which recently closed at the Young Vic Theater, begins with individual performers walking up to a microphone. Each pauses, hesitates, starts to unfold a flag, play a flute or merely glance at a wristwatch. Then, before any of them utters a sound, they are dragged out of sight by a troop of stocking-capped men. The scene provides a raw, potent metaphor for the lot of the Belarus Free Theater, which can perform in its own country only surreptitiously. (In place of the usual production credits, the program cast and crew biographies list incidents of arrest, imprisonment and blackballing.) Conceived as a response to ''New York in 1979,'' an erotic anatomy of the city by the novelist Kathy Acker, this production presents Minsk as a place where sex is a thwarted, warping force. Like the Nemiga River that runs beneath the city, erotic impulses have been forced underground. [ABSTRACT FROM AUTHOR]

LONDON ''I HOPE you don't cut out my anger,'' says the oppressively maternal-looking woman, a therapist being interviewed by a television reporter. ''You don't see much anger on telly these days. Everyone's too eager to be loved.'' [ABSTRACT FROM PUBLISHER]

LONDON -- Smells like pre-teen spirit at the Cambridge Theater, where a throng of irresistibly fed-up boys and girls are storming the barricades of adult oppression. ''Revolting children'' they call themselves in the rousing final number of the musical ''Matilda,'' the fattest, sassiest hit of the season here. And the words have special savor for these kids because they've been used before, in another way. ''Revolting children'' is what their sadistic headmistress had been calling them. And now, led by a polysyllabic little girl with the gift of telekinesis, they've turned an insult into a battle cry. These newly armed, formerly downtrodden creatures have learned one of the first lessons of revolution: who owns the language has the power. [ABSTRACT FROM PUBLISHER]

LONDON -- It was a dark and stormy afternoon when I ventured into the old building with the twisting staircases, on one of those London side streets that always seems to be in different places when you look for them. Oh, I knew what I was in for: screams, gunshots, a whistling psychopath, fraught minutes in the dark and rigid postures of fear. But I hadn't come to St. Martin's Theater to be frightened or even stimulated. I was there for comfort. Well, that and the chance to pay my respects to a woman who had given me bountiful comfort since my childhood: Agatha Christie, whose play ''The Mousetrap'' was just about to begin its 24,655th performance. Hundreds of thousands before me, starting before I was born, had followed this same path, making a cheerful pilgrimage to a mecca of sanitary murder. [ABSTRACT FROM PUBLISHER]

Remember when he was bad? When he was so good at being the guy you least wanted hiding in your closet? From the time Kevin Spacey appeared in ''American Beauty'' -- and won the 1999 Academy Award for best actor -- he has mostly specialized in delicate studies of moral ambivalence, of ordinary men tainted by everyday corruption and disillusion. (Check out his exemplary performance as a Lehman Brothers-style executive wrestling with his conscience -- and losing, of course -- in this year's ''Margin Call.'') Much of Mr. Spacey's stage work has followed suit, with high-voltage turns on Broadway as Eugene O'Neill's lyrical losers in ''The Iceman Cometh'' and ''A Moon for the Misbegotten.'' He even tried the conventional leading-man thing (''Pay It Forward'' on screen; the Cary Grant part in ''The Philadelphia Story'' onstage in London). [ABSTRACT FROM PUBLISHER]

LONDON -- And so the sorry story continues, as people from the corridors of power confess their crimes and await their judgments. The glamorous favorite of the tyrant has fallen from her high perch, and it is rumored that further depths of corruption are waiting to be plumbed. Reputations everywhere are in tatters. Such was the view on Saturday night - no, not of the television screen from my couch - but from a seat at the Donmar Warehouse toward the end of its production of ''Luise Miller.'' I had been reluctant to tear myself away from the ever-evolving news of the phone-hacking scandal, which could be relied upon to produce a fresh resignation or arrest at regular intervals. But leave it to Friedrich Schiller, the 18th-century German chronicler of the evil that politicians do, to provide a soap opera that's nearly as juicy as that surrounding Rupert Murdoch's News International organization (and Parliament and Scotland Yard). [ABSTRACT FROM PUBLISHER]

When lovers meet on London's stages this summer, the odds are it's not violins they're hearing. It's alarm bells. Consider the strange, sad case of the Norwegian minister and the freethinking new woman, natural soul mates who find each other, only to destroy each other. Or the kindhearted Chinese prostitute whose affair with a pilot drives him to heroin addiction. Or the middle-class man and woman who consign themselves to lives of loneliness with the wrong people because that is what good people do. And that's not to mention the passion-addled barrister's wife, who, having left her husband for a younger man, is first seen trying to gas herself to death. [ABSTRACT FROM PUBLISHER]

Focuses on the reenactment of the character of the U.S. President George W. Bush in theatrical productions in New York and in London, England. Different names of Bush in the theatrical productions; Other politicians reenacted by actors; Actors portraying the characters.

Looks at London theater productions with the subject of war. 75th anniversary revival of "Journey's End" written by R.C. Sherriff and directed by David Grindley which is set in the front lines of World War I; Other productions which share the topic; Suggestion that technology aside, Western civilization has been limping in place for the past century; Comparison to "Puglist Specialist," performed recently at the Soho Theater by the Riot Group; Sharing of a sad indignation and futility about the nature and persistence of war; Tone of appalled resignation over war rather than protest; Satirists such as Justin Butcher and his "The Madness of George Dubya," and "The Weapons Inspector Calls"; How war is being received in theaters.

Discusses American theatrical productions in the West End, London, England. 'Jerry Springer: The Opera,' by Richard Thomas and Stewart Lee; 'Sexual Perversity in Chicago,' by David Mamet, starring Matthew Perry and Minnie Driver; 'His Girl Friday,' by John Guare; 'Hitchcock Blonde,' starring Rosamund Pike.

Focuses on stage productions based on kings and rulers, in London, England. Performances of Michael Sheen as Caligula, Mark Rylance as Richard II and Adrian Lester as Henry V; Political insanity in 'The Madness of George Dubya, or 'Strangelove Revisited',' written and directed by Justin Butcher.

Highlights various plays in London, England's West End. Popularity of David Hare's 'Breath of Life,' with Judi Dench and Maggie Smith; Performances of Glenn Close in 'A Streetcar Named Desire,' Brenda Blethyn in 'Mrs. Warren's Profession,' Sean Bean in 'Macbeth,' and Gillian Anderson in 'What the Night Is For.'

Highlights various plays in London, England's West End. Popularity of David Hare's 'Breath of Life,' with Judi Dench and Maggie Smith; Performances of Glenn Close in 'A Streetcar Named Desire,' Brenda Blethyn in 'Mrs. Warren's Profession,' Sean Bean in 'Macbeth,' and Gillian Anderson in 'What the Night Is For.'

Discusses the role of London theater as a social mirror. Martin McDonagh's 'Lieutenant of Inishly'; Convergence of daily headlines and onstage plot lines; The disappearance of children as subjects in Bryony Lavery's 'Frozen' and 'Chitty Chitty Bang Bang,' based on Ian Fleming's book; The futurist fantasy 'We Will Rock You,' directed by Christopher Renshaw; Other musicals, including 'Bombay Dreams' and 'Play Without Words.'

Offers a look at theater in London, England and reviews various British plays. 'House' and 'Garden,' by Alan Ayckbourn; 'Passion Play,' by Peter Nichols; 'Busy Day,' by Fanny Burney; Others.