And, as with all their previous productions, Mischief Theatre’s The Comedy About A Bank Robbery proves exactly why their triumph is so deserved.
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Alexis Michalik’s play (translated by Jeremy Sams) detailing the fictionalised writing process behind Cyrano, impishly titled Edmond de Bergerac, receives its English premiere in Roxana Silbert’s light-hearted and giddily enjoyable production.
I’m delighted to say that Emma Reeves’ new stage adaptation loses none of The Worst Witch’s gleeful mayhem and enchantment.
The joy of Stephen Adly Guirgis’ Jesus Hopped the ‘A’ Train is in meeting his characters: watching them perform to each other; hearing their patois and verbal brio; exude a charisma which they know gives them power.
The Girl on the Train is contemporary, both in its subject and staging. There is a strong balance between a suspenseful whodunit that drives the play and a psychological element about memory and control, and abusive relationships.
It’s a #ReadaPlayaWeek: featuring Laura Wade’s Breathing Corpses; Adult Child/Dead Child (1987) by Claire Dowie; Thatcher’s Women by Kay Adshead; and Superhoe by Nicôle Lecky.
Anne Washburn’s latest offering, Shipwreck, is a marathon play at the Almeida Theatre that takes direct aim at the Trump Administration.
Having seen the ways that people can come together in a crisis in the uplifting Come From Away last week, this week brought a more anarchic and nihilistic view of post-9/11 America from American Idiot, the rock opera based on the Green Day concept album of the same name.
Frantic Assembly’s production of Anna Jordan’s play The Unreturning about three different men returning from (or amidst) war is a startling delve into the pull and promise of home, and the larger issues of (national) identity which spawn from that.
How far would you go to achieve domestic perfection? What even is domestic perfection? Is our happiness shaped by or confounded by traditional gender roles? These are the questions Laura Wade poses in her feminist satire Home, I’m Darling.
For three years, #ReadaPlayaWeek was a, well, weekly feature of our blog. Starting out as a way to familiarise myself more with the canon, long-established and establishment writers were a regular feature.
Katori Hall teams up once again with director James Dacre to present the extraordinary Our Lady of Kibeho, a study on belief that is at once universal and deeply personal, while also scrutinising the communal seeds of warfare.
Anaïs Mitchell has instigated something special, and I hope, and expect, Hadestown to evolve further throughout the years, as each new version creates its own musical and mythological traditions.
“The inheritance of wisdom, community and self” – Matthew Lopez. Each year, around March, I think of a brilliant way to start the Best of the Year list. Each year, around December, I forget it. In the year when football nearly came home and the UK has been stuck on a political pause, theatre has been the lodestar.
This year, after a reported £3.6 million refurbishment at Leicester’s Haymarket Theatre, it has reopened. Sandi Toksvig’s new version of Treasure Island, directed by Matthew Forbes, is its first major production.
From catchy tunes and magical turns to a solid moral lesson for kiddies to learn, Suba Das has created a joyous show in The Cat in the Hat, I urge, families, friends and theatre-lovers to go.
With White Christmas, Curve has yet again produced a classy production filled with yuletide magic and enough fluffy escapism to warm hearts on these cold winter nights.
Now, Laurence Connor and James Powell’s new production of Les Misérables (seen on Broadway a few years ago) gives Les Mis a fresh look which will assure its longevity.
The night before Dr Martin Luther King Jr’s assassination on the balcony outside of his Memphis motel room, Katori Hall’s play The Mountaintop takes us inside Room 306 where he was staying.
Having come to Rock of Ages with no prior reference other than the 2012 film version (mostly memorable for featuring a surprisingly entertaining performance from Tom Cruise) I was, let’s say, unprepared for the stage show. It’s an altogether louder, more unsavoury affair.
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