{"id":55158,"date":"2025-09-16T10:56:13","date_gmt":"2025-09-16T09:56:13","guid":{"rendered":"https:\/\/londoncult.co.uk\/?p=55158"},"modified":"2025-09-16T10:59:30","modified_gmt":"2025-09-16T09:59:30","slug":"adaptations-of-the-classics-in-the-mirror-of-the-london-stage-london-theatres-in-september","status":"publish","type":"post","link":"https:\/\/londoncult.co.uk\/en\/adaptations-of-the-classics-in-the-mirror-of-the-london-stage-london-theatres-in-september\/","title":{"rendered":"Adaptations of the Classics in the Mirror of the London Stage: London Theatres in September"},"content":{"rendered":"\n<h4 class=\"wp-block-heading has-text-align-center\"><strong>The Lady from the Sea<\/strong><strong><\/strong><\/h4>\n\n\n\n<p class=\"has-text-align-center\"><strong>Bridge Theatre<\/strong><strong><br><\/strong><strong>3 Potters Flds Pk, SE1 2SG<\/strong><strong><\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a ref=\"magnificPopup\" href=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/tlfts_ticketagentbuttons_ttg_1600x1200.webp\" data-lbwps-width=\"960\" data-lbwps-height=\"720\" data-lbwps-srcsmall=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/tlfts_ticketagentbuttons_ttg_1600x1200-600x450.webp\"><img decoding=\"async\" width=\"960\" height=\"720\" src=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/tlfts_ticketagentbuttons_ttg_1600x1200.webp\" alt=\"\" class=\"wp-image-55154\" srcset=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/tlfts_ticketagentbuttons_ttg_1600x1200.webp 960w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/tlfts_ticketagentbuttons_ttg_1600x1200-600x450.webp 600w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/tlfts_ticketagentbuttons_ttg_1600x1200-633x475.webp 633w\" sizes=\"(max-width: 960px) 100vw, 960px\" \/><\/a><figcaption class=\"wp-element-caption\">Photo by londontheatre.co.uk<\/figcaption><\/figure>\n<\/div>\n\n\n<p>Modern adaptations of Ibsen\u2019s plays are popular on London stages. Only recently Wyndham\u2019s Theatre staged My Master Builder, Lila Raicek\u2019s version of The Master Builder. And now Bridge Theatre is presenting The Lady from the Sea, one of Ibsen\u2019s most <a href=\"https:\/\/bridgetheatre.co.uk\/whats-on\/the-lady-from-the-sea\/\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">romantic plays<\/a>. Its longing and anticipation connect it to Chekhov\u2019s dramaturgy. Yet in a strange way, The Lady from the Sea brings hope, not despair.<\/p>\n\n\n\n<p>What director and adaptor Simon Stone (known for Phaedra at the National Theatre, for example) has done with Ibsen\u2019s plot is what audiences will discover. The leading roles are played by Alicia Vikander and Andrew Lincoln as Edward and Ellida, husband and wife whose life brims with sharp drama. Ellida\u2019s complex relationship with her stepdaughters, and her past shrouded in mystery and silence, gradually come to light, revealing a chilling yet surprisingly romantic story.<\/p>\n\n\n\n<p>For Vikander, working with Ibsen is also significant because her first encounter with theatre was as a child, when she saw Peer Gynt. And before audiences see her in The Kremlin Magician, where she plays the female lead, they can witness her London stage debut here.<\/p>\n\n\n\n<p>Lincoln\u2014star of The Walking Dead, Love Actually, and Cold Water\u2014returns to the London stage after playing Scrooge in A Christmas Carol at the Old Vic in 2020. Bridge Theatre promises an exploration of desire, freedom, loss, and rebirth\u2014and of course, Ibsen\u2019s story is a perfect fit.<\/p>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-center\"><strong>The Importance of Being Earnest<\/strong><strong><\/strong><\/h4>\n\n\n\n<p class=\"has-text-align-center\"><strong>No\u00ebl Coward Theatre<\/strong><strong><br><\/strong><strong>85\u201388 St Martin\u2019s Ln, WC2N 4AU<\/strong><strong><\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"The Importance of Being Earnest - No\u00ebl Coward Theatre\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/W-mk9toGrpY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Sparkling, funny, dazzling, sharp, shocking (and yes, the theatre can still shock us!)\u2014this autumn, The Importance of Being Earnest moves to the No\u00ebl Coward Theatre in co-production with Sonia Friedman Productions.<\/p>\n\n\n\n<p>Zero percent sense, one hundred percent fun and play. What happens when deception collides with serious matters of marriage? How do you escape a web of lies\u2014especially when you spun it yourself?<\/p>\n\n\n\n<p>The <a href=\"https:\/\/www.noelcowardtheatre.co.uk\/whats-on\/the-importance-of-being-earnest\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">show<\/a> has the audience\u2019s attention for several reasons. First, it\u2019s one of Oscar Wilde\u2019s most beloved plays. Second, Olly Alexander stars as Algernon Moncrieff. He returns to the No\u00ebl Coward Theatre stage after Peter and Alice in the early 2010s, that famous production with Ben Whishaw and Judi Dench, where he played a charming yet unsettlingly heartless Peter Pan.<\/p>\n\n\n\n<p>Director Max Webster (who also staged Macbeth at Donmar) has created a joyful, vivid reimagining of Wilde\u2019s classic. The production is both funny and romantic. By tradition, Lady Bracknell is played by a man\u2014here, it\u2019s Stephen Fry, greeted with applause the moment he steps on stage, before he even begins acting. That\u2019s charisma!<\/p>\n\n\n\n<p>This is a delightful comedy-drama, bubbling like champagne. The story is familiar, but it\u2019s a joy to watch every time.<\/p>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-center\"><strong>The Land of the Living<\/strong><strong><\/strong><\/h4>\n\n\n\n<p class=\"has-text-align-center\"><strong>Dorfman Theatre, National Theatre<\/strong><strong><br><\/strong><strong>Upper Ground, South Bank, SE1 9PX<\/strong><strong><\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><a ref=\"magnificPopup\" href=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/the-land-of-the-living-national-theatre-2000-x1000.jpg\" data-lbwps-width=\"1996\" data-lbwps-height=\"998\" data-lbwps-srcsmall=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/the-land-of-the-living-national-theatre-2000-x1000-600x300.jpg\"><img decoding=\"async\" width=\"1024\" height=\"512\" src=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/the-land-of-the-living-national-theatre-2000-x1000-1024x512.jpg\" alt=\"\" class=\"wp-image-55150\" srcset=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/the-land-of-the-living-national-theatre-2000-x1000-1024x512.jpg 1024w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/the-land-of-the-living-national-theatre-2000-x1000-600x300.jpg 600w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/the-land-of-the-living-national-theatre-2000-x1000-902x451.jpg 902w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/the-land-of-the-living-national-theatre-2000-x1000.jpg 1996w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\">Photo by nationaltheatre.org.uk<\/figcaption><\/figure>\n<\/div>\n\n\n<p>At the end of 1945, Thomas was alive\u2014but lost: like thousands of children, he had been taken from Eastern Europe by the Nazis during WWII. He was placed in the care of Ruth, a UN relief worker (UNICEF, incidentally, would not be established until the following year). As the war ends, Ruth faces a painful moral dilemma: should she try to find Thomas\u2019s parents or leave him where he is?<\/p>\n\n\n\n<p>Thomas grows up, and forty-five years later he comes to Ruth. He looks her in the eye and asks: \u201cWhy?!\u201d<\/p>\n\n\n\n<p>David Lan\u2019s heartbreaking <a href=\"https:\/\/www.nationaltheatre.org.uk\/productions\/the-land-of-the-living\/\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">new play<\/a> is, sadly, still relevant. Child abductions in war zones are as commonplace as they are monstrous. Even to think of it is unbearable\u2014yet young Ruth, in the mid-1940s, had to face this reality head-on and make an impossible choice.<\/p>\n\n\n\n<p>\u201cAll my life\u2014all your life\u2014I\u2019ve struggled with this question: was what I did wrong?\u201d\u2014this line, spoken by Juliet Stevenson as Ruth, becomes the play\u2019s central theme. Grown-up Thomas is played by Polish actor Tom Wlaschiha (remember Jaqen H\u2019ghar from Game of Thrones?).<\/p>\n\n\n\n<p>Lan has written plays rooted in what he has seen himself\u2014born in South Africa, he knows firsthand the dramatic history of the continent. Later, occupied with his leadership at the Young Vic, he paused his playwriting. Now he returns with a new work. On the one hand, it follows the path of his earlier drama; on the other, it\u2019s his first exploration of childhood and war.<\/p>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-center\"><strong>The Weir<\/strong><strong><\/strong><\/h4>\n\n\n\n<p class=\"has-text-align-center\"><strong>Harold Pinter Theatre<\/strong><strong><br><\/strong><strong>Panton St, SW1Y 4DN<\/strong><strong><\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><a ref=\"magnificPopup\" href=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/d_hero-min.webp\" data-lbwps-width=\"2880\" data-lbwps-height=\"1319\" data-lbwps-srcsmall=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/d_hero-min-600x275.webp\"><img decoding=\"async\" width=\"1024\" height=\"469\" src=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/d_hero-min-1024x469.webp\" alt=\"\" class=\"wp-image-55148\" srcset=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/d_hero-min-1024x469.webp 1024w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/d_hero-min-600x275.webp 600w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/d_hero-min-902x413.webp 902w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\">Photo by theweirplay.com<\/figcaption><\/figure>\n<\/div>\n\n\n<p>Conor McPherson directs his own <a href=\"https:\/\/theweirplay.com\/?gad_source=1&amp;gad_campaignid=23024787061&amp;gbraid=0AAAAA_e0IGuHJsNN1cvZCwr6KYdkbI5rY&amp;gclid=Cj0KCQjw8p7GBhCjARIsAEhghZ3ktvOq7vjHMt1pTZYW-ceb6IOn-oJLdkn_AG1GPmY65KRmNpOQOusaArzVEALw_wcB\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">play<\/a> The Weir for the first time\u2014an intensely personal work. And this production features an Irish stage giant: Brendan Gleeson, triumphantly back in theatre.<\/p>\n\n\n\n<p>The show has already played in Dublin, where critics and audiences alike responded with near-religious ecstasy. No surprise: it\u2019s been years since Gleeson last appeared on stage, and here he has a magnificent role\u2014a perfect showcase.<\/p>\n\n\n\n<p>In a rural Irish pub, locals spend a stormy evening drinking together. Among the four men is one woman, Valerie, who has just moved from Dublin to the countryside. Inspired by the eerie atmosphere, the men try to impress her with dark, supernatural tales from local lore. But things take an unexpected turn: Valerie has a haunting story of her own, which changes the evening completely.<\/p>\n\n\n\n<p>Valerie is played by Kate Phillips, star of Miss Scarlett. What\u2019s remarkable is the ensemble dynamic: the cast doesn\u2019t compete for attention but works together with precision and profound psychological depth.<\/p>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-center\"><strong>Deaf Republic<\/strong><strong><\/strong><\/h4>\n\n\n\n<p class=\"has-text-align-center\"><strong>Royal Court Theatre<\/strong><strong><br><\/strong><strong>50\u201351 Sloane Square, SW1W 8AS<\/strong><strong><\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a ref=\"magnificPopup\" href=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/derbhle-crotty-and-cast-johan-persson-1024x683-1.jpg\" data-lbwps-width=\"1024\" data-lbwps-height=\"683\" data-lbwps-srcsmall=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/derbhle-crotty-and-cast-johan-persson-1024x683-1-600x400.jpg\"><img decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/derbhle-crotty-and-cast-johan-persson-1024x683-1.jpg\" alt=\"\" class=\"wp-image-55146\" srcset=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/derbhle-crotty-and-cast-johan-persson-1024x683-1.jpg 1024w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/derbhle-crotty-and-cast-johan-persson-1024x683-1-600x400.jpg 600w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/derbhle-crotty-and-cast-johan-persson-1024x683-1-712x475.jpg 712w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\">Photo by Deaf Republic, Production images, Johan Perrson<\/figcaption><\/figure>\n<\/div>\n\n\n<p>\u201cI am still here. I exist. I have a body.\u201d Ilya Kaminsky\u2019s poetry cycle Deaf Republic has become a striking theatrical production, almost an installation fused with poetic performance, created by Dublin\u2019s Dead Centre.<\/p>\n\n\n\n<p>In the fictional town of Vasenka, a deaf boy is killed during a puppet show\u2014a horrific collision of childhood and death, puppet theatre and the lifeless. The townspeople respond by becoming \u201cdeaf\u201d in protest.<\/p>\n\n\n\n<p>British Sign Language (BSL) is the central medium of Deaf Republic. The <a href=\"https:\/\/royalcourttheatre.com\/whats-on\/deaf-republic\/?gad_source=1&amp;gad_campaignid=17286089473&amp;gbraid=0AAAAAD3xIEJK6DUAt0uEZzR2Z_0mze7Qg&amp;gclid=Cj0KCQjw8p7GBhCjARIsAEhghZ3umxrG1-2l5A-GsQdyrFEB1AU9w935jjAe8IWspqgAvAkifMpxgjoaAi_rEALw_wcB\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">show<\/a> blends sign and surtitles, puppetry and video. Silence turns into an act of resistance, and gesture into a thunderous sound.<\/p>\n\n\n\n<p>It\u2019s a moving, heartbreaking story adapted from Kaminsky\u2019s poems by directors Ben Kidd and Bush Moukarzel. Chaos, fear, comedy, tenderness\u2014the dead child\u2019s puppet, circus-like numbers\u2014everything speaks to the fragility of life and the resilience of people under broken normalcy. At times the production borders on hallucinatory strangeness\u2014again a reflection of life when normality itself has collapsed.<\/p>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-center\"><strong>Seagull: True Story<\/strong><strong><\/strong><\/h4>\n\n\n\n<p class=\"has-text-align-center\"><strong>Marylebone Theatre<\/strong><strong><br><\/strong><strong>35 Park Rd, NW1 6XT<\/strong><strong><\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><a ref=\"magnificPopup\" href=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a4234.jpg\" data-lbwps-width=\"8163\" data-lbwps-height=\"5190\" data-lbwps-srcsmall=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a4234-600x381.jpg\"><img decoding=\"async\" width=\"1024\" height=\"651\" src=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a4234-1024x651.jpg\" alt=\"\" class=\"wp-image-54242\" srcset=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a4234-1024x651.jpg 1024w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a4234-600x381.jpg 600w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a4234-747x475.jpg 747w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\">Photo by Wild Yak Production<\/figcaption><\/figure>\n<\/div>\n\n\n<p><a href=\"https:\/\/www.marylebonetheatre.com\/productions\/seagull-true-story\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">This Seagull<\/a> has little to do with Chekhov and everything to do with the present day and the \u00e9migr\u00e9 experience of director Alexander Molochnikov.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-wp-embed is-provider-london-cult. wp-block-embed-london-cult.\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"JQOraahKcN\"><a href=\"https:\/\/londoncult.co.uk\/en\/alexander-molochnikov-how-can-you-forbid-creating-something-simply-beautiful\/\">Alexander Molochnikov: \u201cHow can you forbid creating something simply beautiful?\u201d<\/a><\/blockquote><iframe class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; visibility: hidden;\" title=\"&#8220;Alexander Molochnikov: \u201cHow can you forbid creating something simply beautiful?\u201d&#8221; &#8212; London Cult.\" src=\"https:\/\/londoncult.co.uk\/en\/alexander-molochnikov-how-can-you-forbid-creating-something-simply-beautiful\/embed\/#?secret=AitGTXeHsv#?secret=JQOraahKcN\" data-secret=\"JQOraahKcN\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>In Moscow, he was hugely successful, staging work at the Moscow Art Theatre. In the US, he launched into work with renewed energy, creating Seagull: True Story with playwright Eli Rarey\u2014a production that won over audiences and critics alike. Now it has arrived in London, produced by MART and Wild Yak.<\/p>\n\n\n\n<p>The story follows a young director whose bold, original staging of The Seagull was censored when war broke out. He flees to New York, hoping for artistic freedom, but soon faces another struggle\u2014for identity, for the right to artistic expression.<\/p>\n\n\n\n<p>Starring Andrei Burkovsky and Ingeborga Dapk\u016bnait\u0117.<\/p>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-center\"><strong>A Midsummer Night\u2019s Dream<\/strong><strong><\/strong><\/h4>\n\n\n\n<p class=\"has-text-align-center\"><strong>Southwark Playhouse<\/strong><strong><br><\/strong><strong>77\u201385 Newington Causeway, SE1 6BD<\/strong><strong><\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"A Midsummer Night&#039;s Dream Official Trailer | Must end 27 September\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/yXPMT9UjACk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>When a small, young theatre <a href=\"https:\/\/southwarkplayhouse.co.uk\/productions\/a-midsummer-nights-dream\/\" target=\"_blank\" data-type=\"link\" data-id=\"https:\/\/southwarkplayhouse.co.uk\/productions\/a-midsummer-nights-dream\/\" rel=\"noreferrer noopener nofollow\">stages Shakespeare<\/a>, it does so out of love. For English actors, the connection to Shakespeare has a special warmth\u2014unforced, unacademic, uncontrived.<\/p>\n\n\n\n<p>Here, a tiny troupe led by director Toby Hulse offers audiences a unique experience, taking them back to childhood, to play, and to the magical sense that anything is possible.<\/p>\n\n\n\n<p>Fairies work their mischief, lovers lose track of who they adore, and one poor soul is transformed into a long-eared animal. The setting is 1905; Shakespeare\u2019s language mingles with modern English.<\/p>\n\n\n\n<p>Above all, it\u2019s a play about love and for love\u2014and audiences are guaranteed to leave with smiles and joy.<\/p>\n","protected":false},"excerpt":{"rendered":"<style>.featured-image img, .featured-image-mobile img {object-position: center 60%;}<\/style>\n<p>Well, autumn is here. Again. Summer had only just begun, and already\u2014before you know it\u2014it\u2019s almost Christmas. But while the new season rolls in\u2014cozy, russet, golden, full of warm sweaters and hot cocoa\u2014we suggest going to the theatre, because there\u2019s plenty worth seeing. Shakespeare, Ibsen, Chekhov, Wilde\u2014all lined up. Take your pick!<\/p>\n","protected":false},"author":91,"featured_media":55144,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[86],"tags":[],"type_post":[184],"column":[185],"class_list":["post-55158","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","column-letters-from-the-theatre"],"_links":{"self":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts\/55158","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/users\/91"}],"replies":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/comments?post=55158"}],"version-history":[{"count":0,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts\/55158\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/media\/55144"}],"wp:attachment":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/media?parent=55158"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/categories?post=55158"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/tags?post=55158"},{"taxonomy":"type_post","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/type_post?post=55158"},{"taxonomy":"column","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/column?post=55158"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}