It’s only happened a handful of times in my theatregoing life, but at Wyndham’s Theatre, I had the urge to leap to my feet and instigate a standing ovation. In fact, I felt that way as the interval arrived, the show was that good.
There’s a world (indeed, a universe) of possibilities in this intriguing play about decisions and repercussions.
Remembrance Day seemed a perfect moment to review a production set just before and during the First World War, Hugh Salmon’s finely rendered Into Battle.
The live version of Northern Comedy Theatre’s lockdown Zoom hit sees Shakespeare diced, sliced and put through the mincer at the Bridewell Theatre.
After becoming a fan of their online comedies during lockdown, I chat with Northern Comedy Theatre artistic director Shaun Chambers and writer David Spicer as they transfer their Zoom hit Doing Shakespeare to the stage at the Bridewell Theatre.
Stephen Smith of Threedumb Theatre is something of a Gothic horror aficionado, especially when it comes to the works of Edgar Allan Poe.
Following a brief run at London’s The Space and ahead of a tour, Brian Coyle’s 2018 one-man play Timeless was made available as an on-demand stream.
This latest star-studded digital offering from Henry Filloux-Bennett and the Lawrence Batley Theatre is a pleasing comedy about the tribulations of putting on a post-pandemic production.
I remember a student I was once trying to get to read more saying “What’s the point, there are just too many books”. Perhaps I’m beginning to have the same reaction to digital theatre – there’s so much more of it out there than I had ever anticipated and although I think I can claim I’ve covered a fair amount of ground there is still plenty to get to grips with.
New online theatre material keeps popping up all the time – or at least it eventually comes to my attention which amounts to much the same thing; this latest one did so by a somewhat circuitous route. My Boy Danny played at this year’s recent Camden Fringe as an online stream, but I managed to muddle the dates and therefore missed it.
It’s been a while since I’ve reviewed one of the many shows which youth theatre Chickenshed put out during the pandemic. In fact, their last released piece came out in May so apologies to them for getting to this so late on. As with some of their previously released pieces it’s one of their boldly reinvented Christmas shows, this time from 2012.
It is not with a little sense of surprise that I found myself yesterday experiencing my 800th online production which is the subject of this review. Back in April 2020 I, probably along with the vast majority of people, was only expecting the virus problem to last a matter of weeks and yet here we are and here I am still reviewing daily after 535 days.
One of the huge advantages of online theatre over the last eighteen months or so has been being able to catch up with plays that any self-respecting reviewer should have seen but for whatever reason hasn’t. My Night With Reg was first produced in 1994 (missed it), has been revived since (missed them) and even turned into a TV film (guess what?)
The Greek myths have endured across the centuries partly because they are timeless stories that can be endlessly updated and reinvented.
I’ve now tackled a very high percentage of shows on the regular list so I’m going to make a rather more concerted effort to engage with those on the junior version and get this up to the same level. I thought I’d start by heading for one where the title had long intrigued me.
As it’s a recorded stream, you’re at liberty to choose your own encore moments and replay any numbers which particularly take your fancy – and there are bound to be several of those.*
The twin themes of social justice and climate activism are explored in this piece from Fehinti Balogun/Complicité.
Do these two pieces push the idea of audio theatre to its limits? Probably and the results are highly pleasing
The first tranche of Young Vic Digital consists of pieces written in response to a main house production. Here they are in chronological order of the time the original plays were written.
Siobhan Bremer’s A Theatrical Life is very much a piece which will more readily appeal to members of the profession and those interested in the mechanics of the business called show.