This touring version of The Da Vinci Code maintains the storyline of the original book where the codes come thick and fast and the dialogue is clear and concise allowing you to follow the storyline with ease.
Steve Tompkins, director of Haworth Tompkins, the architecture studio responsible for projects including many of UK theatre’s most high-profile building projects, has been named number one in The Stage 100 in association with Spektrix.
They don’t come much more glitzy than a new Sondheim production in the West End. That Company is one of Sondheim’s most popular if not THE most popular of his musicals could be gauged by the roar that went up on opening night even before the lights had dimmed.
The Other Palace has announced changes to its management team and programming direction, including the departure of artistic director Paul Taylor Mills and the re-introduction of plays to its schedule. Previously the St James Theatre, the west London venue was rebranded and relaunched as a musicals-only house last February.
A stage revival of taut psychological thriller Strangers On a Train is now touring the country and this week it had opening night audiences at Woking’s packed New Victoria Theatre on the edge of their seats.
For those who like their thrillers with a massive twist, you won’t want to miss Strangers on a Train – despite the slightly clunkiness of the adaptation it has plenty to keep the audience gripped from beginning to end.
The idea of music existing “between the notes” seems to be the best description of Heisenberg. A bit like the principle from which it takes its name, that you cannot view a thing and observe it’s momentum at once. The music analogy is more romantic though.
I think I should start off by saying Heisenberg: The Uncertainty Principle that launches a brave new commercial venture in the West End by director Marianne Elliott and producer Chris Harper, had me hooked.
This one has been received with respect, but it was hard to help feeling that this 80-minute two-hander represents one of those cases where an immensity of theatrical talent gets heaped on a work so weightless that it would crumble to dust without that exoskeleton of high craft and sincerity.
It’s all exciting, and has the potential, we already know, to produce exciting work. A company that is starting with a new Simon Stephens play starring Anne-Marie Duff and Kenneth Cranham is obviously off to a pretty strong start.