Sometimes a violent rip occurs in the thin veil of materialism, commonsense, morality and law. Children know this.
Following its premiere at the National Theatre’s Dorfman Theatre in December, The Ocean at the End of the Lane, based on the bestselling novel by Neil Gaiman transfers to the West End’s Duke of York’s Theatre.
Ought To Be Clowns barely saw 250 shows this year, quiet by his standards. And as is the way of these things, here’s a rundown of some of the productions that moved me most…
Love London Love Culture rounds up the reviews for the stage adaptation of Neil Gaiman’s novel, The Ocean at the End of the Lane.
The stage adaptation of Neil Gaiman’s 2013 novel The Ocean at the End of the Lane opens at the National Theatre and looks set to be a hit.
Donmar Warehouse’s outgoing artistic director Josie Rourke has announced today two new productions as part of her final season, both with rising directorial talents at the helm.
In light of Roman Tragedies reminding us of the vast potential of what Shakespeare can be rather than the tendency towards the ‘proper’ readings of his work that we tend to get here in the UK (vast generalisations I know, but can you really argue against it…), it’s gratifying to see directors, and venues, taking the opportunity to stretch those traditional notions.
There’s something wonderfully political about the Lyric Hammersmith’s pantomime Aladdin this year. Not just in Joel Horwood’s script but in almost every aspect of Ellen McDougall’s production
Unmoving revival of Simon Stephens’ teen-bully play sacrifices emotional truth to trendy directorial gimmicks.