The Brockley Jack Studio is constantly offering interesting and challenging productions and Queen of the Mist is a must see for fans of musicals with a strong book as well as beautiful music and lyrics.
Mates blogger: Shanine Salmon
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Little Miss Sunshine is impressively directed with a high energy level, the songs are so good that I hope a soundtrack CD is soon released, and overall it’s a very solid four-star musical I could easily imagine transferring to the West End and being a big hit.
Toast is a deeply moving play that isn’t afraid to find the humour in Slater’s tragedy. Toast looks at Slater’s relationship not only with his family but with food.
Rocky Rodriquez Jnr’s Bed Peace is a potentially fascinating area of examination, but unfortunately, Rodriquez’s production is all a bit of a mess.
Monsay Whitney’s Box Clever, a dark look at the bureaucracy of being poor and vulnerable, is not an easy watch.
Killymuck, looking at life for a Northern Irish working-class woman living amongst the Troubles, isn’t just a moving portrayal of the past but a worrying reminder of how little has changed for those facing poverty.
Lionel Bart’s love letter to Liverpool is an interesting choice of revival. Originally performed at the Adelphi in 1964 at the height of Beatlemania and the Merseybeat, Bart claims he came up with the concept before anyone had even heard of the Beatles.
Romance Romance, the all-male gay musical which opened at the Above the Stag Theatre in Vauxhall, is a beautiful and ornate chocolate box of a production.
There’s something very timely in Angry Alan, Penelope Skinner’s portrait of a lost man finding refuge in the “men’s rights movement”.
Oscar Wilde’s comedy of manners is rightly regarded as a classic, so we must give thanks for Ayesha Casley-Hayford and Kudzanayi Chiwawa coming along and giving The Importance of Being Earnest a new lease of life, with the backing of Two Gents Productions and Tara Arts.
A fixture in London and the Edinburgh Fringe, Austentatious is an eight-strong troupe of comic improvisers, creating a fully improvised story at each performance in the style of Jane Austen.
Belarus Free Theatre’s immersive adaptation of Counting Sheep provides a truly emotional, interactive and interesting story whether you lived through it or you are learning about this for the very first time.
Michael Barry’s celebration of a great interrogative intellect, The First Modern Man, can only work if the central performance manages to convey the imagined charm of a florid and thoughtful writer, with enough biographical detail and introspection to round out the thinker. It succeeds.
Treehouse’s Bring Them Home describes itself as an immersive game, rather than immersive theatre and it does feel like playing an interactive board game. The role of the audience is to work as a team to ensure the astronaut comes back to earth and chooses their landing base.
Set in Belle Époque France, Can-Can! sells itself as a fun and frivolous new dance musical adapted from Offenbach’s original operetta Orpheus in the Underworld featuring a 17-strong all-singing, all-dancing cast.
Fight Night is an immersive, underground boxing match as the audience’s actions and reactions determines the winner.
A first-rate piece of children’s theatre, this retelling of the familiar myth Icarus (by playwright Katrin Lange, directed by Cressida Brown) challenges a young audience to reflect on whether to believe everything they’re told.
Committing to review a show that you adore is a risk, especially a show you saw ten years ago, obsessed over, bought the soundtrack, played it a hundred times over and to which you know almost every word. Thankfully, Avenue Q entirely paid off, with a production of such quality that I have fallen in love with it all over again.
Danielle Ward’s The Half, which transfers to London after a sold-out Edinburgh 2018 run, is a brutal look at friendship, comedy and being a woman.
Seance is a sensory rather than a theatrical performance. In a small audience, you find yourselves being asked to contact the dead, in 20 minutes and in the blackest darkness with headphones and a table your only prop.
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