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Two theatres, one concept, but no lasting sparks from Shakespeare's tragi-comedy, theatre review by Alexandra Coghlan

Deploying both the Globe's main stage and its Sam Wanamaker Playhouse, this new promenade staging is an imaginative, expertly judged triumph

As this ambitious production switches between stages, and deaths pile up like dishes, neither the comedy nor the tragedy have room to breathe

Oliver Leith’s new work, based on Gus Van Sant’s fictionalised account of the final days of Kurt Cobain, keeps its audience at arm’s length, allowing its dense score to articulate and drive the drama

An opera about the grunge singer's final day is striking, hypnotic at times, but how do you care about a man who is not really there?

Misogynist gags? Ancient puns? Unethical bed tricks? Theatre-makers discuss how they tackle the Bard’s trickier works

At first, Anthony Neilson’s play is a bewildering affair, but its sombre aftermath imparts understanding with crushing effect

The Dance of Death

The Dance of Death

With all characters unsympathetic and moral ambiguity abounding, even a pacey 90 minutes can feel a little like an exercise or a sketch rather than a fully formed drama.