If you’ve seen Moulin Rouge! The Musical and loved it, I’d advise you to read no further – this is not going to be pleasant.
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.
Not only does it work as a standalone piece of digital theatre, this adaptation of The Picture of Dorian Gray is also really intelligently linked to the original story.
An inventive and compelling retelling of a Christmas classic, the Polka Theatre’s A Christmas Carol is a great introduction to the tale of Mr Scrooge for audience members young and old.
I may be woefully behind on my show write-ups, but I couldn’t not mark The Show Must Go Online coming to an end – at least until further notice.
Nigel Slater’s Toast is a top quality production full of heartwarming moments and alimentary temptations – grab yourself a Walnut Whip and make yourself comfy.
I posed some questions to The Show Must Go Online returnees Luke Barton, Kristin Atherton, David Johnson and Lucy Aarden about their experiences with this weekly lockdown hit.
Last week was Shakespeare’s birthday, so The Show Must Go Online went all out with their latest production, holding a Titus Andronicus party in the Bard’s honour.
It feels slightly odd that my final show before the curtains came down wasn’t a play or musical – instead, it was a dance show.
Following on from the instant success of National Theatre At Home streaming event, it’s got me thinking about all the other wonderful NT Live screenings that I’d love to come to the small screen as part of this series. I have narrowed it down to my top 10.
I very nearly did see this one, but it opened and closed so swiftly that I didn’t really have the chance – I wasn’t living in London at that point, so a bit more planning was required for my theatre trips.
Loud, bold & full of heart, What Girls Are Made Of is full of dynamic performances – a true testament to the power of music & storytelling.
Electrolyte is a special piece of theatre that fuses spoken word with all the key components of a gig – a great way to keep the mental health conversation going.
One test of biography jukebox musicals is how much an uninitiated audience member ends up learning about the artist through the course of the show.
Beats on Pointe at the Peacock Theatre is an infectiously enjoyable show that’s at its best when it focuses entirely on the dance – highly recommended.
“Dance for me, Salome, I beseech you.” The final production in this year’s Lazarus Theatre Company residency at Greenwich Theatre (following on from The Tempest and Lord of the Flies) is a new version of Oscar Wilde’s Salomé.
Lionel Bart and Alun Owen’s musical Maggie May first opened in London 55 years ago, when it made its debut at the Adelphi Theatre in September 1964 – despite its success it hasn’t been seen since.
It honestly doesn’t let up. At all. After an Edinburgh-focused August, and a ‘keep myself busy at all costs’ September (mostly to avoid the hell that is rush hour transport), October has rolled in, bursting at the seams because there is too much to do.
Apparently, 2018 is the ‘Year of the Woman’, and it has definitely felt like the world of theatre has stepped up for the occasion.
An hysterically funny new musical that also makes a rather pertinent point about disability and inclusivity – the performances are top notch, and it’s effortlessly accessible.