With powerful performances and a vibrant cast, The Astonishing Times of Timothy Cratchit creates an entertaining musical filled with laughter which is perfectly complemented by the Christmas atmosphere.
Light Falls is Sarah Frankcom’s swan song as artistic director at the Royal Exchange. And what a moving and beautifully crafted performance to leave on. Light Falls is one of the best performances I have ever seen at the Royal Exchange and the most perfect work to bow out on.
Intertwining ribald comedy with a morality tale is no easy feat, yet an outstanding cast and creative team reinforce this thought-provoking and immersive experience of Measure for Measure for all to enjoy.
This production of Macbeth receives stunning direction from Christopher Haydon and, crucially, Lucy Ellinson is magnificent as Macbeth.
The list of nominees has been revealed for this year’s UK Theatre Awards, the only nationwide awards to honour and celebrate outstanding achievements in theatre throughout England, Scotland, Wales and Northern Ireland. Best New Play nominees are Laura Wade’s The Watsons, Ulster American by David Ireland and Life Of Pi, adapted by Lolita Chakrabarti from Yann Martel’s novel, while Best Musical …
The 2019 winners of The Stage Debut Awards, in association with Access Entertainment, were announced in a ceremony which took place at The Brewery, London this weekend.
As part of MIF (Manchester International Festival), that aims to bring artists from different art forms to create forward thinking innovative work, Maxine Peake stars in the world premiere of The Nico Project as 60s icon of the same name.
The Royal Exchange Theatre, Manchester has announced the appointment of Roy Alexander Weise and Bryony Shanahan as its new joint artistic directors. Both will join executive director Stephen Freeman to complete the leadership team for the award-winning theatre. Together they will assume the role of chief executive.
This production of Miss Julie, by the Durham-based Elysium Theatre Company, keeps things simple and focused on the complex subtext of Strindberg’s work (here in a proficient translation by Michael Meyer).
A beautiful reinterpretation of the Shakespearean classic, Matthew Bourne’s Romeo & Juliet at The Lowry modernises the tale of doomed love for a new audience.
The Royal Exchange’s latest offering is an adaptation of Harold Brighouse’s 1916 play Hobson’s Choice, with the action updated from Victorian-era Salford to Ancoats in the 1980s.
Whether you’re a contemporary-dance-curious newcomer or a die-hard fan of Maliphant’s exquisite vision and choreography, Silent Lines is a beautifully serene though sharply executed performance.
Actor Richard Cant chatted to Emma Clarendon about his latest role in Wife at the Kiln Theatre.
Liminal Theatre Productions (Liminal for short) is first and foremost a theatre for social change. All three of their members passionately believe that ‘theatre can change the world’ and this is what they continue to work towards. These women aren’t messing around.
It may be Shakespeare but thanks to the ensemble cast and their excellent interpretation this production of Much Ado About Nothing could not be described as stuffy, taking the audience from high comedy to moments of dramatic tension in minutes.
This production of Hamlet asserts itself as the authentic, entertaining and thrilling rendition that it consciously aims to be.
West Side Story is Sarah Frankcom’s first major musical production at the Royal Exchange, Manchester and it is nothing short of a complete triumph.
Beauty & the Beast is certainly a ‘tale as old as time’, and in this beautiful interpretation by Birmingham Royal Ballet the magical relationship between Belle and the Beast appears more captivating than ever.
Fat Blokes is not your typical dance show. It’s witty, queer, honest, and uncomfortable in all the right places. It’s nothing you expect it to be, but everything that it should be.
Walking up the steps of Yang Sing, a restaurant on the edge of Chinatown, it is easy to see that From Shore to Shore will be no ordinary night at the theatre. (Indeed, it’s not at the theatre at all.)