Welcome back to the Fringe Focus series of interviews with artistic directors around London. Recently I caught up with Kennedy Bloomer, who has been running the Hope Theatre (above the Hope & Anchor pub in Islington) since January 2020.
There is great attention paid to detail throughout Sharp Teeth’s Sherlock In Homes: Murder At The Circus which ensures that the audience are thoroughly engaged from start to finish.
Edmund Dehn is great in Death of a Hunter as Ernest Hemingway, the role of a 20th century icon who lived and died explosively.
The Bridge Theatre present Inua Ellams’ play An Evening With an Immigrant as part of its repertoire of one person plays during September and October.
Romantics Anonymous is a story predicated on equality, mutual support and finding your own path as individuals (and as a couple) rather than waiting for someone else to come and save you from your life – implications that after years of rom coms and social messaging is subtly but usefully employed through a charmingly conceived but nonetheless carefully structured story.
The pleasure of Sherlock In Homes: Murder at the Circus lies in watching half a dozen brains quickly scramble to come up with answers to what can be some pretty left field questions from the audience,
We round up the reviews for Gemma Lawrence’s play Sunnymead Court, running at the Tristan Bates theatre for a limited time.
Filmed simply and elegantly in the Little auditorium at Southwark Playhouse, Before After places all our attention on the problems of these two people as they begin again.
Buried Child is a family drama which transcends its genre and this excellent production enhances its already considerable reputation.
This is a masterly revival of An Evening with an Immigrant, Inua Ellams’ 2016 autobiographical one-man show which is both poetic and engaging.
Feelgood musical Romantics Anonymous at Bristol Old Vic certainly works on both the level of a light confection and something more robust for the committed chocolatophile/musicophile.
The Seth Concert Series With Karen Olivo is as richly diverse musically as the rest of the series as well as being entertaining from start to finish.
One of the knock-on effects of the current pandemic is that theatres have had to rise to the challenge of being ever more inventive in terms of form and content; Letters from The Gate Theatre follows this trend.
A Marvellous Party, commissioned by the Noël Coward Foundation, ostensibly marks the centenary of Coward’s first appearance on stage and has been produced to raise funds for actors on both sides of the Atlantic who are struggling with the effects of the pandemic.
We round up the reviews for Steven Dexter’s production of the musical Pippin, now playing at the Garden Theatre in Vauxhall.
A 20 minute audio experience for two people, Double is a psychological puzzle set in any normal kitchen, against any normal kitchen table.
John Chapman asks Martin Sherman, the author of online hit Rose, a number of impertinent questions.
The big question is whether the big sound of Pippin translates to an outdoor space on the edge of the Vauxhall one way system. The answer is a resounding yes.
Squad Goals tackles the limits opportunities women have to face while the other gender seems to have such vast chances at one of the world most successful and followed professions.
Writer/director Jack McNamara’s clever play The Boss Of It All remorselessly targets the ineptitude of the governing classes and, along the way, takes some delightful pot shots at the pretensions of a certain type of actor.