You don’t have to be a wild boar (or a critic) to enjoy Wild Bore… Oh man, the sheer fucking horror of it; the burden that comes with being a straight white male critic who’s sexually retarded. How do you Crayola this shit?
A world of potential conflict here, and the casting works well. At times the production does engage deeply, particularly in the bruising encounter of all three together for the first time in seven years.
The Finborough revival of Jerome K Jerome’s 1908 chamber piece continues the fringe venue’s glorious taste for dusting off forgotten works; a production that reproduces the original’s mannered sentiment and Edwardian whimsy and affirms the play’s legacy status.
The Old Vic’s Christmas Carol is enough to make a merry man out of the worst seasonal curmudgeon. It boasts an effervescent Scrooge in Rhys Ifans – all wild hair and projectile spittle, and a Tiny Tim to make your blackened heart bleed.
Designed to challenge our misconceptions about sex workers and their industry, Sex Worker’s Opera is a campaign, a celebration, a cabaret by and about sex workers. The show offers us an affectionate critique of a strand of feminist views of sex workers and the sex trade.
We Apologise For The Inconvenience takes place during a fraught episode when Douglas Adams’ agent locked him in a hotel room and refused to let him leave until he had finished The Hitchhikers’ Guide to the Galaxy.
The Cervantes Theatre’s current staging of Lorca’s classic, alternating between English and Spanish, is a powerful and deeply humane examination of the effects of ruling through oppression, as well as how unspent desire swiftly festers and toxifies.
vo van Hove’s production, starring Bryan Cranston in the iconic Peter Finch role, makes the case for itself by inviting audience identification with Beale’s angry, uncensored, unedited, uncorroborated stream of consciousness.