In a world of people singing along to musical theatre and drunkenly shouting to actors in passive productions (I’ve been to Rocky Horror so I am saying nothing) it is nice that there is an outlet for them but with the exception of big producers like Punchdrunk (currently in Shanghai) most immersive theatre is new writing and sometimes not very good new writing.
After a sell-out run at the 2016 Edinburgh Comedy Festival, Britney comes to London as the part of the Vaults Festival. It is a sketch show with a difference, all the sketchs are about Britney, not Spears though her music features heavily, but Charly Clive’s brain tumour.
Based on a true story this has been marketed as a look at British prison life, the issue is that Brown’s two-hander, with Mark Wingett (Jim Carver in The Bill) as her jailbird father Terry doesn’t even touch the surface of what it is really like to be in prison and most of what we hear of Terry’s time is second/third hand information.
Almost five years after its award-winning run at Soho Theatre, Richard Marsh and Katie Bonna’s autobiographical two-hander returns to London, now at the Arts Theatre on the West End. The play tells the story of Richard and Katie’s long, messy path to love, as they overcome the awkward challenges that life throws in their way.
Adrian Lukis and Jill Winternitz star in the UK premiere of Halley Feiffer’s I’m Gonna Pray For You So Hard, opening at London’s Finborough Theatre in February.
Writing about sex is never easy, staging sex harder still (no pun intended), and I’m not sure if trying to make all this sex comedic makes it better or worse. Sex is inherently funny (and I believe also inherently political).
First published in 1928 (having been banned and rejected for its sheer filth) this adaptation embraces the rhythm of the Joseph Moncure March narrative poem and of the time but whilst Anna Clark and Joey Akubeze give the 16 characters they play between their all there is something that makes this production feel a bit disjointed.
Some theatre leaves an indelible mark on you, changes your perspective on life, art, politics or philosophy, or challenges your innermost perceptions of yourself and the world you live in. Out There on Fried Meat Ridge Road is not that piece of theatre.
Raising Martha is a production that has been hit by various casting changes, firstly Morgana Robinson was replaced by Game of Throne’s Gwyneth Keyworth and in a less high profile change Jasper Britton was replaced by Stephen Boxer. The production hasn’t suffered for it.
Andrew Maddock is one of my favourite new writers. He seems to focus on people, rather than characters and stories over storylines. His new play He(art), produced by Lonesome Schoolboy, is about four people and two stories.