After ★★★★★ success at this year’s Edinburgh Fringe, The Good Scout becomes the latest Glenn Chandler festival hit to transfer directly to London’s Above the Stag Theatre. Time to get booking!
We’re counting down to The Eyes of the Night, premiering next month as part of the Cervantes Theatre’s second annual Contemporary Spanish Playwriting season, supported by Acción Cultural Española and Arts Council England. Simone Coxall has been running both the English and Spanish casts through their paces. Sneak a peek inside rehearsals – and then get booking!
In a special Camden Fringe edition of A Glimpse Inside, I met up with TL Wiswell to talk about her new show Space Age Love Songs, running at the Hen and Chickens from 21 August 2019.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
Proforca Theatre Company reunites the team behind its acclaimed hit Feel for the premiere of At Last, which opens the autumn/winter season at London’s newly relaunched Lion & Unicorn Theatre. Plan ahead and get booking!
Can we ever really know what happened between two people behind closed doors? That’s the question at the heart of Anna Zeigler’s provocative new two-hander Actually, and one the company, audience and I grappled with after last week’s performance at Trafalgar Studios.
“Having re-read the book, I was struck by how powerful Jane’s path was – and if it had made me feel that way in the 21st century, the effect on its readers when it was first published must have been seismic!”
The female-led 2019 line-up at the Cervantes Theatre, London’s home for Spanish and Latin American plays, continues this autumn with the second annual Contemporary Spanish Playwriting season, supported by Acción Cultural Española and Arts Council England.
Our Walk Through the World is a collection of six sharply written, short plays by Ross Howard that highlight some of the absurdities of modern life.
Love London Love Culture rounds up the reviews for Oscar Toeman’s production of Anna Ziegler’s new play Actually.
Not long left to see two of the Featured Show campaigns I’ve been working on recently: Crystal Clear at the Old Red Lion Theatre and Sherlock Holmes and The Invisible Thing, which takes London’s most famous detective home to Baker Street. Both finish this weekend!
Find out what critics have made of Jamie Lloyd’s production of Andrew Lloyd Webber and Tim Rice’s musical Evita with LLLC’s review round up…
The Geminus is an atmospheric new play by Ross Dinwiddy and is based on Joseph Conrad’s novella The Secret Sharer. By incorporating a romantic twist, Dinwiddy creates an emotional centre to the piece, which is so important when translating prose to the stage.
The Paines Plough Roundabout is the most reliable, new writing venues at the fringe. With a collection of work that represents the width and breadth of the UK both geographically and thematically, this year’s offerings are universally strong.
Yasmin Paige and Simon Manyonda exude “chemistry” in the “highly watchable” and the zeitgeisty European premiere of Anna Zeigler’s Actually, which is now running at the West End’s Trafalgar Studios until 31 August 2019. We’ve rounded up review highlights below – time to get booking!
The point – and it’s a major one – is that the actor, irrespective of all other considerations, must be the best possible interpreter of the role for the work in question.
Ross Howard’s six short plays are set in worlds that are burlesques on absurdism. Relationships don’t so much fail to work as unnervingly malfunction.
“Much more than a history lesson, The Good Scout exemplifies what the Edinburgh Fringe is all about.” What else have critics been saying about Glenn Chandler’s latest festival premiere? (With reviews like these, is another London transfer in the offing?)
I had just enough time to wipe away my tears – I was sobbing – at the end of The View Upstairs before jumping up after the curtain call to announce this post-show Q&A at Soho Theatre.
What is it about a great whodunnit thriller? What makes us keep turning the page? How does that inquisitive excitement translate onstage?