Tiny Room’s LOOP continues its debut tour this weekend, with original cast member David Richardson returning to the play about “burnt bridges and breakdowns” set during a pub lock-in. We talked to him about reprising his performance… with several key differences.
David Richardson, who appeared in the original London runs of Peter Mulligan’s acclaimed play LOOP, rejoins the cast as the Tiny Room production prepares for new November dates on its debut tour. Time to get booking!
Curtis Medley, Martha Furnival and Taro Bahar star in Tiny Room’s fresh new staging of Peter Mulligan’s acclaimed 2018 play LOOP, which launches an inaugural tour this week from Coventry’s Albany Theatre as part of the City of Culture 2021 celebrations.
As Tiny Room prepares for its inaugural tour with Peter Mulligan’s LOOP, we caught up with Joe Idris-Roberts, who now makes his professional directorial debut with this latest iteration of his company co-founder’s acclaimed play.
After success at Camden Fringe and London’s Lion & Unicorn Theatre, Peter Mulligan’s acclaimed play LOOP returns with an autumn tour that launches with a performance at the Albany Theatre as part of Coventry’s City of Culture 2021 celebrations.
On the anniversary of the world premiere and the start of the third year for the London Production of Harry Potter and the Cursed Child at the Palace Theatre, the producers have announced that further tickets will be released for sale on 18 September 2018 for performances from 10 April to 28 July 2019. Producers Sonia Friedman and Colin Callender said: …
We’ve just got our hands on production shots for the new 2018-19 West End cast of Harry Potter and the Cursed Child. Scroll through the full gallery below…
The third West End cast of Harry Potter and the Cursed Child will start their performances at the Palace Theatre in London on 23 May 2018 following the final performance from the current ensemble on 20 May 2018.
Award-winning John Tiffany directs, bringing to life a show that has been in his thoughts for several years now – he’s joined on the team by long-standing collaborator Bob Crowley, as well as Toby Olié as puppet director.
No matter the weather, as you walk into the Lyttelton’s auditorium for Pinocchio, you’ll find that it is snowing. A simple trick but one that inspires just the right childlike wonder for an adaptation of such a popular fairytale.
This is a magical, heartwarming production which uses a variety of theatrical devices in the purest and most masterful way. I’d certainly urge you to get to the National to experience it for yourself and be reminded of the importance of love and family.
It’s an old tale and a magical one. The deployment of spectacle and effects under John Tiffany’s direction and the remarkable tech and design team are not allowed to overshadow its old-fashioned moralities.
Alex Gwyther’s Eyes Closed, Ears Covered is a slippery play that continuously raises questions. We’re immediately presented with Alyson Cummins’ concrete-grey, angular set, suggestive of a brutalist play park in a rundown housing estate.
Alex Gwyther’s Eyes Closed, Ears Covered is beautifully put together in the way that it reveals just what that is – exploring the intersection of past trauma on present behaviour, questioning the durability of the human spirit and the lengths it will go to try to survive.
The world premiere of Eyes Closed, Ears Covered by Alex Gwyther tells the brutal and heartfelt story of two teenage boys as they head to Brighton with a daring plan to relive a special day from four years ago.
Alan Bennett’s Forty Years On is a curious play. His first outing as playwright (back in 1968) is charmingly eccentric, wonderfully witty and every bit a Bennett play. In fact it comes across as if the History Boys stumbled into a production of ‘Oh What a Lovely War’ and decided to join in the fun.