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.
A must-see show for Fringe newbies and veterans alike, celebrating and berating every conceivable angle in musical form – performed by an enthusiastic cast and backing band.
It’s time to head to 17th-century Paris with d’Artagnan, desperate to become a Musketeer – but hiding a secret that could bring those dreams crashing down in an instant.
In Michael Fentiman’s strictly period production, it’s hard to see what we’re meant to care about, and what is supposed to resonate with us. It’s a pleasant enough thing, but there’s nothing particularly groundbreaking about it.
The way it moves between re-enactments, songs and slightly more informal chat is slickly managed, and makes the audience feel included in the evening rather than simply being there as viewers.
Breathe looks at teen suicide, considering both the people who die and those who are left behind; the company have worked with organisations such as Childline to learn more about what they cover in the play.
The aim of the album is to challenge preconceptions people may have about refuge and refugees; creativity in those situations might seem, in some ways, to be at the back of people’s minds, when in fact it might be the simplest way of keeping yourself going.