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NEWS: Beverley Knight, John Dagleish & Carly Bawden are cast in Suffragette musical Sylvia at The Old Vic

In London theatre, Musicals, Native, News, Press Releases by Press ReleasesLeave a Comment

The cast of SYLVIA at The Old Vic, which has its world premiere at The Old Vic on 11 September 2018 (previews from 3 September) will include Delroy Atkinson, Carly Bawden, Verity Blyth, John Dagleish, Jade Hackett, Todd Holdsworth, Izuka Hoyle, Beverley Knight, Genesis Lynea, Jaye Marshall, Tachia Newall, Maria Omakinwa, Karl Queensborough, Ross Sands, Witney White and Elliotte Williams-N’Dure.

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COMMON – National Theatre

In London theatre, Opinion, Plays, Reviews by Ian FosterLeave a Comment

Over the past few years where he may or may not have been studying sculpture at Saint Martin’s College, Northampton-born playwright DC Moore has been putting together a résumé of quietly impressive work – exploring aspects of contemporary masculinity in insightful plays such as the excellent Straight and under-rated monologue Honest, or opening up his focus to the war in Afghanistan in The Empire and family dramas in The Swan.

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TICKETS: Mark’s Top Ten recommendations + this week’s openings (14 Dec)

In Features, London theatre, Musicals, Native, Opinion, Plays, Regional theatre, Reviews by Mark ShentonLeave a Comment

Another week of big openings ahead means I won’t be getting to everything even if I wanted to (and right now I am still trying to take it easier than I used to), let alone playing catch-up on what I missed when I was incapacitated after my recent double rounds of surgery! 

Here are the main openings of the week to look out for, followed by my current Top 10.

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THE WINTER’S TALE – West End

In London theatre, Opinion, Plays, Reviews by Libby PurvesLeave a Comment

Kenneth Branagh’s Garrick year as actor-manager opens in unquestionable triumph. One of Shakespeare’s greatest, most redemptive plays is richly served without flaw or gimmick, traditional in this l 1889 theatre but fresh, clear, heartfelt. The court of the jealous Leontes profits from being set not in antiquity but in a late Victorian – perhaps Tsarist – red-velvet palace in a Christmas season: under the tree a cosy opening vignette of the child Mamillius at old Paulina’s knee, begging “a sad tale’s best for winter”. His mother, prefiguring her statue moment, stands pensive aside, a column of white.