Cecil Sharp, heritage hero or imperialist appropriator? If you attended school in the first half of the 20th century, you would have sung from his collections of English folk songs, and probably gritted your teeth and performed the country dances he recorded, too.
Was Peggy Ramsay a “woman out of time”? The celebrated London literary agent, who nurtured the talents of at least one generation of British playwrights, surely counted as a legend in her own lifetime (she died in 1991). Has she lasted beyond it?
When Berliners sat down to watch Franz Wedekind’s debut play Fruhlings Erwachen – Spring Awakening – in 1906, they had little inkling of the kind of drama he had written, or how it would change theatre for the century to come, despite being banned for long periods.
Charles Dickens and Martyn Jacques is a marriage made in heaven (well, hell I suppose): the Victorian novelist touring the rookeries of Clerkenwell the better to fire his imagination and, 150 years or so later, the post-punk maestro mining London's netherworlds for his tales of misfits and misdeeds.
In his 1973 play Habeas Corpus, now revived at the Menier Chocolate Factory under the direction of Patrick Marber, Alan Bennett had his way with the venerable Whitehall farce.
No playwright has a scalpel as sharp as James Graham’s when it comes to dissecting politics; he has a brilliance and edge that strips away all unnecessary material till the beating heart of the matter is revealed.
Has there ever been a Cabaret as dangerous as this one? Rebecca Frecknall’s disorienting take on the Kander and Ebb classic pulls you in and spits you out in a reinvention that pushes or dissolves boundaries at every twist and turn.
The National Theatre has a good record in staging classic American drama by black playwrights. James Baldwin's The Amen Corner, August Wilson's Ma Rainey's Black Bottom and Lorraine Hansberry’s Les Blancs have all had terrific new stagings.