Rich Watkin’s one-man Disney musical parody Happily Ever Poofter is an ‘exquisite and energetic masterpiece’, and its three year international ‘tour de force’ comes to an end this Friday 24 Sep at the London Wondergound in Earl’s Court. With countless ★★★★★ reviews and several award wins, check out our round-up of reviews from all across the globe. Make sure you book for your chance to see the final ever performance of this ‘foul-mouthed, fairytale/Disney mash up’.
There’s a lot to unpick from camp comedy Buyer and Cellar set in Barbra Streisand’s basement mall (as described in the chunky book she wrote about designing her Malibu estate) which has just opened at Above the Stag.
Pinocchio: No Strings Attached is a very well constructed pantomime with an unexpected and cleverly designed LGBT+ twist.
Editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 13 October 2019), ranging from Aleks Sierz’s thoughts on the still very relevant A Day In The Death Of Joe Egg at the Trafalgar Studios to Libby Purves’ reaction to Mischief Theatre’s new offering Groan Ups.
Jonathan Harvey’s delightfully funny comedy Boom Bang-A-Bang exploring relationships and how quickly they can disintegrate is sharply brought to life in this engaging production.
Fanny & Stella: The Shocking True Story hangs on the brilliant performances of the two leads, Kieran Parrott and Tobias Charles (making what the programme notes is his professional debut, and one that indicates a long and successful career to come).
To see Andy Bell as Torsten in Queereteria TV, relatively up close, in the flesh, was for me a piece of pop history, big deal again, nostalgia.
Here are a few reads from Emma Clarendon’s Love London Love Culture that proved particularly popular in March.
Nostalgic and entertaining, Liam Burke’s play Goodbye Norma Jeane shines a wonderful light on the career of Jack Cole.
Four cracking performances make [title of show] a musical highlight of the month at the Above the Stag Theatre, more than holding its own with the West End.
In an ingenious conceit, Erik Ransom’s show embodies the Grindr app into a Mephistophelian being who wields a strange, yet credible power over all who engage with the software.