It’s about three in the morning on a Saturday night in the living room of a one-bedroom flat in Crouch End. Laura is a 38-year-old managing director, and it’s the tail end of her housewarming party.
This site-specific version is a bit of a gimmick, and while one part of me yearns for the play to be allowed to speak for itself, another just relishes the novelty of this revival’s setting. So what’s the verdict? Guilty of being a good night out.
After DC Moore’s flawed Common comes Mullarkey’s similarly flawed Saint George and the Dragon. Taking the myth of George, the legendary dragon slayer and rescuer of damsels in distress, the playwright wraps the folktale in the flag of our nation’s story.
Albion begins with Audrey, played with indefatigable energy by Victoria Hamilton, in the garden of her deceased uncle’s family home, deep in the English countryside. She has bought the property, which boasts a historic 1920s garden, now much overgrown, which a First World War veteran once formed into a pastoral paradise fit for heroes.
Many on the panel, and in the audience, also shared personal stories as immigrants and/or children of immigrants – and how they felt affected by Powell’s speech and its aftermath.
Award-heavy American play about the Oslo Accords is informative, moving and highly entertaining.
Ahead of her latest London concert date and new album release for Liza Sings Streisand, we turn the spotlight on Liza Pulman, the acclaimed singer, comedienne and one-third of comedy cabaret legends Fascinating Aida. Also check out our photo gallery of Liza in concert and her performance with Fascinating Aida, singing viral hit, “The Brexit Song”…
In Shakespeare’s battle-hardy tragedy, Caius Marcius is rebranded Coriolanus after defeating the Volscian army at Corioles.
Powerful revival of Jim Cartwright’s 1986 modern classic comes alive in all its noisy, vulgar and transcendent glory.
New play about participation and democracy is entertaining enough, but a bit too tricksy and too so-what-ish?
Unfortunately, it’s a pretty terrible piece of theatre. The primarily verbatim script is the worst of racist Brexit voters pontificating on political issues interspersed with extracts of speeches by the likes of Michael Gove, Boris, David Cameron and Nigel Farage.
My Country – A Work In Progress, the National Theatre of Great Britain’s touring response to the Brexit vote, may very well have its heart in the right place. Unfortunately, it is difficult to tell from the ill-conceived, badly put together, charmless result.
As a Twitter geek, one of the things I enjoyed most about David Baddiel‘s latest one-man show My Family: Not the Sitcom, now running at the Playhouse Theatre, is how he so successfully employs social media in his storytelling.
There is an appealing simplicity to the narrative of Camus’s 1947 novel: originally set in Oran, in French Algerian, the book tells the story of a devastating infection that starts off slowly but eventually leads to social and economic crisis as the city gates are closed and its people become prisoners.
For limited run in May, Ugly Duck, a company known primarily for the use of abandoned and disused spaces host ProxC Productions Disconnect, A play asking the audience to vote on the fate of 10 convicted criminals scheduled for jettison from ProxC – a spaceship carrying the remnants of humanity towards a new earth & a new start.
What would Bertolt Brecht have made of Donald Trump? Brecht’s “epic theatre” was sparked by the rise of Nazism in 1930s Germany. Many pundits have likened the political period we’ve now entered with that dark decade of the twentieth century.
No explanation is given as to why London and the South-East are no-shows – were they even invited or, as may be inferred in the case of Londoners, just continuing their habit of never listening to the rest of the country?
Oh dear. The first play explicitly about Brexit is being staged by the National Theatre in a production that has all the acrid flavour of virtue signalling.
Stage version of dystopian classic returns — it’s lively and fun, but also cartoon-like and unmoving.
As someone who makes a living championing theatre, one of the things that really delights me about the grass-roots activism sprouting up all around me in our increasingly illiberal age of Trump and Brexit is how much of it is being driven by theatre colleagues.