Based on the Stephen King novella Rita Hayworth and the Shawshank Redemption, but probably better known from the 1994 film starring Morgan Freeman and Tim Robbins, the stage adaptation of The Shawshank Redemption (written by Owen O’Neill and Dave Johns, directed by David Esbjornson) is currently touring the country. This production stars Ben Onwukwe as Red, and Joe Absolom as Andy Dufresne.
Following a successful West End engagement at the Dominion back in 2019, White Christmas has been taken on the road for the 2022 festive season. This time round, the Irving Berlin classic musical stars Jay McGuiness, Dan Burton, Jessica Daley, Monique Young, Lorna Luft and Michael Starke – and of course includes several renditions of the famous title song.
Charlie Josephine’s play I, Joan at Shakespeare’s Globe does give Joan a feminist mantle; that is probably for the best, as the character would be pretty unbearable if focused solely on their religious and nationalist quest – it also speaks more to a modern audience, and makes more sense in the context of other creative choices in this play.
Written in collaboration with John Fletcher, Henry VIII is quite possibly Shakespeare’s final play – but, despite this country’s continued obsession with all things Tudor, it remains a rarely performed piece. Imagine the delight of Shakespeare completists everywhere when it was announced as part of the Globe’s 2022 summer season, this time in a slightly updated version that sees Hannah Khalil (resident writer) become the third collaborator; the original has a heavy male focus, thanks in part to the two (male) playwrights having to work around the expectations of the establishment to avoid censorship and arrest – but now 400 years have passed, it’s about time the female voices in this story were heard as well.
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.