Post-lockdown, Lazarus Theatre returns to the stage with a revival of their 2019 gender-twist version of Oscar Wilde’s Salome, in a limited season at London’s Southwark Playhouse. Having chaired a lively discussion on this piece two years ago, I’m delighted to reunite with Lazarus for a fresh go.
Hilarious sitcom homage FRIEND (The One With Gunther), written and performed by Brendan Murphy, is now available globally via Stream Theatre until Sunday 25 July 2021.
The first in-house production at the Jack Studio since The Invisible Man back in late 2019, Wolves Are Coming From You by Joel Horwood is a story about a small community forced to pull together against an invisible but potentially deadly threat – makin…
The original two-part multi-award-winning production of Harry Potter and the Cursed Child will resume performances at London’s Palace Theatre on 14 October 2021. After over a year and a half of shutdown due to the pandemic, rehearsals for the West End production will begin this August.
Well done to the Be More Chill company. This new musical had just had its successful UK premiere and announced a lengthy extension at The Other Palace when Covid shut it down in March 2020.
Romeo & Juliet at Shakespeare’s Globe is a new and vital take on the classic Verona tale, contextualising the characters’ motives – this is not about romance, it’s about escape.
Streaming until 28 July through Camden People’s Theatre, presented by Carolyn Defrin in collaboration with film-maker Rosie Powell, 28 Days Greater – total running time 46 minutes – comprises a sequence of 28 short films. Some are over in a blink or a whisper; some linger for longer.
Where Jeremy Herrin directs and Bunny Christie designs, you expect something pretty damn theatrical before After Life ends, and this we get.
Social distancing restrictions may be about to be lifted, but can the West End survive the mass self-isolation that the current virus surge will require?
After the year we’ve all had with the pandemic and subsequent lockdowns, A Super Happy Story (About Feeling Super Sad) is sure to strike a chord with many people and it provides a voice for those experiencing mental health issues.
Find out what critics have had to say about the world premiere of Nina Raine’s new play Bach & Sons at the Bridge Theatre.
This pared-down version of Pippin, now upping the cast size to eight members, reclaims the show again and reignites it with the spirit of the 60s when it was originally conceived and first produced by composer Stephen Schwartz when he was still a student at Carnegie Mellon in 1967.
Some say that the tight, 80-minute three-hander Raya tackles too many things at once – middle aged reawakening of old liaisons, the menopause, grief, haunting, student sexual accusations, therapy, parenthood and the unwisdom of defining yourself round sex. But hey, that is adult life. Hassles do not arrive neatly separated and convenient for the dramatic unities.
What makes Black Is The Color Of My Voice stand out from the crowd is Apphia Campbell’s performance which is multi-layered, dynamic and assured and, when she’s singing, spine-tingling.
While this musical has plenty for young people to relate to, Be More Chill could have gone into a lot more depth in exploring important issues such as body image and anxiety.
by Laura Kressly Whilst feeling uncertain and lost may well be something everyone goes through at least at one point in their life, thats no consolation in the moment. Everyone else seems to have purpose, direction and a place, and the sense of not having that can be debilitating. That’s certainly the case for Myah. […]
There comes a point in every lifelong theatre lover’s career when you suddenly wake up and wonder: am I simply too old for this? Ben Brantley, former chief critic of the New York Times, hit this particular critical nail on the head when he ended his review of the 2018 Off-Broadway summer run of the cult musical Be More Chill (before it was propelled to Broadway in turn) by advising: “It may be helpful to think of this bounding, exhaustingly enthusiastic puppy of a show as the theatrical equivalent of one of those high-pitched dog whistles that only those under 25 can hear.”
The National Theatre’s staging of Under Milk Wood is far from the first time Dylan Thomas’ poem has been adapted for the stage. It’s easy to see the temptation to perform a work so packed with characters, drifting through a strange, semi-mythical setting encountering one another.
Black Is the Color of My Voice, inspired by Nina Simone and written and performed by Fringe First winner Apphia Campbell, is now available globally via Stream Theatre until Sunday 18 July 2021.
Silent Uproar’s cabaret style show A Super Happy Story (About Feeling Super Sad) is a highly sensitive and nuanced performance which nails the debilitating effects of what is still a misunderstood condition.