Crave is a blunt force impact of emotion, building to a frenzy and then, in a little under 50 minutes, it’s over and we leave. The world outside is just the same, but we’re refreshed – a vital dose of theatre to see us through winter months.
A Sarah Kane play is by no means a safe option for any theatre looking to attract audiences back to its auditorium, but this bold and intriguing production of Crave at Chichester Festival Theatre was worth the risk.
This lovely musical based on David Walliams’ children’s book is filled with fun and mischief.
Chichester Festival Theatre has announced that, due to the unpredictable ongoing nature of Covid-19, it has made the very difficult decision to cancel all scheduled Festival 2020 productions.
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.
Making a dramatic property based on a book into a musical can sometimes be hit and miss, whatever the quality of the source material or the best intention of the adaptor.
Far from frivolous, this fashion-based drama is a great choice for Chichester Festival Theatre’s inaugural broadcast, from a venue that so often gets it right. Perfect escapism.
For the first time, Chichester Festival Theatre will stream a selection of its archive productions online, beginning with its award-winning 2018 musical Flowers for Mrs Harris from this Thursday 9 April 2020 ahead of the Easter weekend.
World premieres in Chichester Festival Theatre’s Festival 2020 include first plays by Steven Moffat and Kate Mosse and new work by Suhayla El-Bushra and Christopher Shinn.
With a new year fast approaching, it is an interesting time to reflect on small changes across the theatre landscape in 2019 that will continue to shape how UK theatre will look as it moves into a new decade.
Following sold-out runs at both Chichester Festival Theatre and the Menier Chocolate Factory, Laura Wade’s The Watsons transfers to the West End in 2020. The production opens at the Harold Pinter Theatre on 19 May, with previews from 8 May, and runs until 26 September.
Roy Williams’ incendiary 2002 play, Sing Yer Heart Out for the Lads, which attacks grass roots racism with all the finesse of a vintage Vinnie Jones tackle, is back and spewing vitriol in Chichester Festival Theatre’s pop-up space, The Spiegeltent.
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 6 October 2019), ranging from Libby Purves’ childhood reminiscences associated with Master Harold and the Boys at the National to Abba-fest Mamma Mia! The Party and reviews of new plays The Open, Two Ladies, The Watsons and more. Enjoy.
It has been a long time since the West End saw a truly great Macbeth so perhaps this is a chance for Simm and Kirwan to buck the trend with impressive performances that offer a different perspective on their characters while creating a potency in their exchanges that is never less than compelling.
See this production of Macbeth for those masterful central performances, they’re more than worth the price of admission, even if so much of the rest is “full of sound and fury, signifying nothing!”
It’s been another crazy busy Stagey week. I moved flats, travelled to Chichester, Kilworth, and Dartford, saw five shows, two cabarets, interviewed nine people and had a very early start on Sunday for a day’s filming.
But more and more, there’s a sense in Hedda Tesman at the Minerva that what you are seeing is some damn fine acting in a rather ho-hum play.
Chichester Festival Theatre’s production of Shakespeare’s famous tragedy Macbeth, led by John Simm and Dervla Kirwan as the corrupted couple, marks a homecoming for director Paul Miller.
Nicholas Wright’s sharp play imagines the US touring production of the first black Othello and its aftermath in the uneasy years of the McCarthyite search for Communist sympathisers.
There are probably not many people left alive who remember the controversial coast to coast US tour of Othello from 1944. It was remarkable for two reasons. Singer and political firebrand, Paul ‘Ol’ Man River’ Robeson was playing the lead and, as a black man, he was sharing the stage with a white, Desdemona.