Katherine Parkinson is simply spectacular as Judy, a vision in froufy frocks and pin-up hair, a woman who has entirely reinvented herself, right down to the way she holds herself.
In some ways, Allelujah! is perfectly symptomatic of the problem I have with the Bridge Theatre. Does London really need any new theatres, no matter how much people think they want interval madeleines?
Out of the Forest Theatre’s contribution to the genre comes in the form of Bury the Hatchet, self-described as a “true crime podcast meets bluegrass musical” and all sorts of fun with it.
And as an absurdist drama, Exit the King suggests a bit of different thinking. On the face of it, it’s a simple enough tale – a man is told he only has a day left to live and struggles to deal with it.
You can never have too much charity it would seem, and as Rebecca Trehearn prepares to take on the role of Charity Hope Valentine in Nottingham next month, Gemma Sutton tackles it here at the beautiful Watermill Theatre in Newbury.
Come mid-January, the Strand will look a fair bit different for theatregoers as both Kinky Boots and Dreamgirls have posted advance closing notices, leaving the Adelphi and the Savoy respectively on the same date, Saturday 12 January 2018.
For all the weight of the subject, The White Rose is engagingly and captivatingly staged, losing none of the visual inventiveness that has characterised so much of Arrows & Traps’ previous work.
The prospect of a Much Ado About Nothing drenched in 1950s Americana was one that piqued my interest, even if the well-realised shiny set design sits a little incongruously among the Roman ruins.
