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Michael Billington

Michael Billington

Michael Billington
Michael Billington was the chief theatre critic for the Guardian from 1971 until 2019, and continues to contribute drama features to the paper. He is also the drama critic for Country Life, a role he has performed since 1988. He is the author of The 101 Greatest Plays – From Antiquity to the Present, and State of the Nation: British Theatre since 1945, as well as the biographies of Harold Pinter and Peggy Ashcroft, and critical studies of Tom Stoppard and Alan Ayckbourn.
Photo by Daniel Farmer
Podcast Episode(s)
Recommended Play(s)
Michael recommended Rutherford and Son by Githa Sowerby.

 

 

 

101 – The 101 Greatest Plays

101 – The 101 Greatest Plays

101 – The 101 Greatest Plays

In 2015 the esteemed theatre critic Michael Billington published his selection of The 101 Greatest Plays – From Antiquity to the Present. Michael said in the introduction to his book, that his selection was “a provocation”, a “prelude to a debate in which everyone is free to join”. Well, I was provoked!

So for the 101st episode of the podcast, I invited Michael to join me in conversation about his selection. Conscious of the limits of my experience and knowledge compared with Michael’s, given his estimate that he has seen some 10,000 plays in his lifetime, I also invited the renowned arts journalist Mark Lawson to join in the debate. During our discussion we not only wrangled over specific inclusions and exclusions in Michael’s list, including most controversially his omission of both King Lear and Waiting for Godot, we also addressed more general questions about the criteria for selection, what elements make a great play, and what makes a play more likely to endure beyond its own time. Finally, given that Michael made his selection ten years ago now, we asked what, if any, great plays we would nominate from more recent new work.

Listeners won’t be surprised to learn that we didin’t always see eye-to-eye on individual choices, but there was also much agreement. Inevitably we finally all agreed that a list of 101 was just not enough to do justice to the history of dramatic literature!

We’d love to hear what you think when you’ve heard our debate, so please email us at plays@theplaypodcast.com with your comments and suggestions. As Michael said, everyone is free to join in.

Below is a list of the 101 titles Michael selected. To hear the reasons for his choices, and some of his ommissions, I highly recommend that you also acquire a copy of his book via our link below.

Win £100 of Theatre Tokens!

To mark the milestone of our 100th episode I’m delighted to say that Theatre Tokens has been generous enough to offer our listeners the chance to win a prize of £100 worth of theatre tokens. Theatre Tokens is a not-for-profit organisation whose mission is to encourage people to visit the theatre in the UK. Their tokens can be used at over 270 venues around the country, and all of the money generated by the sale of tokens is reinvested into the theatre industry. The tokens are available as Gift Cards and as eGifts, and they have no expiry date.

For your chance to win, all you need to do is identify what the most popular episode of the 100 we have released to date has been. Simply email us at plays@theplaypodcast.com with the name of the episode that you think has been listened to more times than any other. The competition will close at midnight on the 30th of September 2025.

Thank you to Theatre Tokens for supporting this episode and for promoting theatre. Good luck!

Michael Billington

Michael Billington was the chief theatre critic for the Guardian from 1971 until 2019, and continues to contribute drama features to the paper. He is also the drama critic for Country Life, a role he has performed since 1988. In addition to The 101 Greatest Plays, Michael is also the author of State of the Nation: British Theatre since 1945, as well as the biographies of Harold Pinter and Peggy Ashcroft, and critical studies of Tom Stoppard and Alan Ayckbourn.

Recommended Play

Michael recommended Rutherford and Son by Githa Sowerby.

Photo by Daniel Farmer

Mark Lawson

Mark Lawson is a journalist, broadcaster, author and playwright. He is a cultural critic and feature writer for The Guardian, writes regularly about TV for Radio Times, and is theatre critic of The Tablet. His work as a broadcaster includes Mark Lawson Talks To… (BBC4), Front Row (on Radio 4) and Late Review Review / Newsnight Review (on BBC2). He has also written TV drama, at least five novels and more than two dozen radio plays for the BBC.

Recommended Play

Mark recommended Rift by Gabriel Jason Dean.

The 101 Greatest Plays selected by Michael Billington

The Persians by Aeschylus
Oedipus the King by Sophocles
Helen by Euripides
Assemby-Women by Aristophanes
The Brothers Menaechmus by Plautus
The Mysteries adapted by Tony Harrison
Edward II by Christopher Marlowe
Love’s Labours Lost
by William Shakespeare
Henry IV Parts One and Two by William Shakespeare
Hamlet by William Shakespeare
Twelfth Night by William Shakespeare
The Malcontent by John Marston
A Mad World, My Masters by Thomas Middleton
Macbeth by William Shakespeare
Corialanus by William Shakespeare
The Alchemist by Ben Jonson
The White Devil by John Webster
Fuenteovejuna by Lope de Vega
Punishment without Revenge by Lope de Vega
Life is a Dream by Pedro Calderon de la Barca
The Illusion by Pierre Corneille
Tartuffe by Moliere
Andromache by Jean Racine
The Rover by Aphra Behn
Venice Preserv’d by Thomas Otway
Love for Love by William Congreve
The Recruiting Officer by George Farquhar
The Game of Love and Chance by Marivaux
The Servant of Two Masters by Carlo Goldoni
La Triologia della Villegiatura by Carlo Goldoni
She Stoops to Conquer by Oliver Goldsmith
The School for Scandal by Richard Brinsley Sheridan
The Marriage of Figaro by Pierre-Augustin Caron de Beaumarchais

 

 

 

Nathan the Wise by Gotthold Ephraim Lessing
Don Carlos by Friedrich Schiller
Mary Stuart
by Friedrich Schiller
The Broken Jug by Heinrich von Kleist
The Prince of Homburg by Heinrich Kleist
The Government Inspector by Nikolai Gogol
Woyzeck by Georg Buchner
An Italian Straw Hat by Eugene Labiche
Brand by Henrik Ibsen
The Forest by Alexander Ostrovsky
A Doll’s House by Henrik Ibsen
The Wild Duck by Henrik Ibsen
The Power of Darkness by Leo Tolstoy
The Father by August Strindberg
Spring Awakening by Frank Wedekind
The Importance of Being Earnest by Oscar Wilde
Le Dindon by Georges Feydeau
Uncle Vanya by Anton Chekhov
The Cherry Orchard by Anton Chekhov
Summerfolk by Maxim Gorky
Peter Pan by J.M. Barrie
Waste by Harley Granville-Barker
Professor Bernhardi by Arthur Schnitzler
The Daughter-in-Law by D.H. Lawrence
Pygmalion by George Bernard Shaw
Heartbreak House by George Bernard Shaw
Exiles by James Joyce
The Verge by Susan Glaspell
Henry IV by Luigi Pirandello
Juno & the Paycock by Sean O’Casey
The Front Page by Ben Hecht and Charles MacArthur
Machinal by Sophie Treadwell
Tales from the Vienna Woods by Odon von Horvath

 

 

The Suicide by Nikolai Erdman
Design for Living by Noel Coward
The House of Bernarda Alba by Federico Garcia Lorca
The Life of Galileo by Bertolt Brecht
Mr Puntila and His Man Matti by Bertolt Brecht
Long Day’s Journey into Night by Eugene O’Neill
Men Should Weep by Ena Lamont Stewart
A Streetcar Named Desire by Tennessee Williams
The Chairs by Eugene Ionesco
The Deep Blue Sea by Terence Rattigan
The Crucible by Arthur Miller
Summer of the Seventeenth Doll by Ray Lawler
The Visit by Friedrich Durrenmatt
All That Fall by Samuel Beckett
The Entertainer by John Osborne
The Fire Raisers by Max Frisch
A Raisin in the Sun by Lorraine Hansberry
Serjeant Musgrave’s Dance by John Arden
Chips with Everything by Arnold Wesker
The Homecoming by Harold Pinter
Black Comedy by Peter Shaffer
Absurd Person Singular by Alan Ayckbourn
Bingo by Edward Bond
Death and the King’s Horseman by Wole Soyinka
The Real Thing by Tom Stoppard
Top Girls by Carol Churchill
Dancing at Lughnasa by Brian Friel
Racing Demon by David Hare
The Weir by Conor McPherson
Copenhagen by Michael Frayn
The Goat by Edward Albee
The History Boys by Alan Bennett
Jerusalem by Jez Butterworth
King Charles III by Mike Bartlett

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113 – Arcadia by Tom Stoppard

113 – Arcadia by Tom Stoppard

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Tom Stoppard’s 1993 play, Arcadia is viewed by many as his finest play, renowned for the breadth of its intellectual interrogations and its formal invention. The play is a structural masterpiece of ideas, as well as a teasing detective story, joyous comedy, and emotionally rich exploration of love and loss.

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112 – Glengarry Glen Ross by David Mamet

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To explore Mamet’s unflinching slice of 1980s dog-eat-dog capitalism, I am joined by arts journalist Mark Lawson.

111 – The Resistible Rise of Arturo Ui by Bertolt Brecht

111 – The Resistible Rise of Arturo Ui by Bertolt Brecht

Bertolt Brecht’s ‘gangster spectacle’, The Resistible Rise of Arturo Ui, is both an exuberant and funny piece of theatre, and a chillingly topical political satire. Set in the 1930s Chicago of Al Capone, Brecht presents a parody of the rise of Hitler through the character of the gangster Arturo Ui. The play is a universal cry for vigilance against the rise of unscrupulous, populist leaders who threaten democratic societies and global peace.

As we recorded this episode a new production of the play by the Royal Shakespeare Company was playing in Stratford-upon-Avon, starring Mark Gatiss as the title character.

I am delighted to be joined by both the show’s translator, playwright Stephen Sharkey, and by Brecht scholar, Professor Tom Kuhn, to guide us through Brecht’s political parody.