To the credit of Kwame Kwei-Armah and Idris Elba – and maybe Tori Allen-Martin and Sarah Henley – you can feel the urge to find a healing of all sides in a conflict between black and white South Africans that persists to this day.
Fiona Shaw takes the lead in directing Glyndebourne’s first production of Massenet’s ravishing fairytale, and turns it somewhat on its head.
Whether you’re an avid fan of Take That, or you just know a few of the hit songs, get yourself along to The Band for a show full of friendship, laughs, emotion and nostalgia.
Heart-warming and bursting with pop songs, The Band perfectly captures teenage fandom as Take That’s songs shine in this brand new musical.
The Open Air Theatre in Regent’s Park finally has a summer pantomime in Peter Pan they can revive with minor tweaks and cast changes forever if they so desire.
From the audience reaction and instantaneous standing ovation when the last note was played, it’s clear that a lot of people love this Bat Out of Hell.
The Grinning Man may not be suitable for children (it has an age limit of 12 years), and it’s certainly not a Christmas show in any way, but within the grotesque world that Grose, Morris, Teitler and Phillips create there is a rare and genuine theatre magic.
The parallel is everywhere. There’s the sense that as new money and people flow to London, so do new heresies and threats; the way that spooks can spook governments into fresh paranoia, and the feeling that tricky populations can be quietened by “a royal wedding, and setting the poor against recent immigrants”.
Let’s make one thing clear: this show is epically crazy. Jim Steinman’s rock musical is like nothing else currently on any West End stage. It feels like a rollercoaster ride where things are constantly being thrown at you from every direction: the great, the good, the bad and the ugly sides of rock music are all thrown together to create a show like no other.
Twentieth-anniversary revival of 1990s zeitgeist play is flashy, loud and fun, but also lacks emotional connection
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New play about Africa’s deadliest conflict is more of a heroic failure than a successful drama.
In April last year, the delightful Lyric Hammersmith reopened with a commendably well-structured stage version of Bugsy Malone. Great production values, props, costumes, fight direction and orchestrations. Reviving it for the whole of this summer requires three very young actors to play each of the seven leads so to keep consistency between performances, some pretty stringent direction has been applied.
Eighteen months after their first outing, the National Theatre of Scotland’s production of the James Plays trilogy remains a theatrical event worth anybody’s time and money.
North Korea is the kind of place that haunts the imagination of the West – and not in a good way. One of the last hardline Communist dictatorships, it is also a country of immense sadness, a landscape of food shortages and human-rights abuses. Yet its regime calls this dismal place the “Best Nation in the World”. To us, it’s a secret world, a strange culture difficult to comprehend, easy to fear. Small wonder that, in American playwright Mia Chung’s 2012 play, two hungry sisters fantasise about leaving it for good.
The sound of crickets chirping and the steady beat of tribal drums give way to shrieking and chanting. Boys with shredded school uniforms, ties wrapped around their heads and faces smeared with blood dart about the stage. Tumbling through foliage, climbing up mountains – they hold roughly sharpened sticks as they hunt down their prey.
I’d heard great things about the Regent’s Park Theatre production of Lord of the Flies by William Golding. The media and star ratings had led me to believe I was in for a great evening of theatre. So did it live up to my expectations?
Casting and full tour dates are announced today for Regent’s Park Open Air Theatre’s critically acclaimed production of William Golding’s Lord of the Flies, which will return following its 2011 sell-out premiere for a limited run from Thursday 3 to Saturday 12 September 2015 prior to a major UK tour.
In a bleak neon office (design by Jon Bausor) a much awaited new play by debbie tucker green, always modishly lower-case in titles, takes no prisoners.Except that it is about one, unseen and awaiting a capital punishment decision by his victim in some unspecified but British dystopia. Directed by the author, it is a 75 minute study in unreconciled trauma and the awkward insensitivities of officialdom and protocol. And perhaps (to a sympathetic ear) a good evocation of the perennial inability of non-victims to understand the tearing ,incurable dislocation of personality involved in rape.
Adapting Harper Lee’s Pulitzer Prize winning novel, To Kill a Mockingbird, for the stage is a brave decision to make. The novel has recently celebrated its 50th anniversary, and besides being a staple on the GCSE curriculum, it has been translated into 40 languages and sold over 30 million copies worldwide. This humble, poignant and charming stage adaptation by Christopher Sergel pays homage to the legacy of the novel and everyone who has read it.
The list of gangster movies inspired by 1920’s prohibition-era Chicago is lengthy, but it was not to be until 1976 that British director Alan Parker was to redefine the genre with Bugsy Malone. His award-winning feature film was an inspired musical romp for children, with the classic themes of love and crime all scaled down to a kids-eye view of morality and with sub-machine guns converted to spray custard-pie “splurge” rather than murderous lead.