There may be a whiff of sensationalised cliché to this world premiere of Bitter Wheat, but no matter. Mamet’s subject is timely and relevant and Malkovich’s performance is electrifying.
With its first major cast change since opening – as well as a shift across the Thames – Trevor Nunn’s Fiddler On The Roof remains one of London’s musical theatre jewels.
Only on until 4 July before an international tour, The Light In The Piazza is a must see for all who appreciate modern writing and quality musical theatre.
There are momentary gasps and occasional laughs in The Starry Messenger but ultimately this is a stretched out evening at the theatre, albeit one with a starry cast.
Philip Ridley’s tawdry words in Vincent River, at times offering little more than a virtual peep show into graphic descriptions of verbally violent torture porn, tell us nothing new.
As part of a new series, our editor Lisa Martland picks out seven of her Top Picks from the last week of theatre (20-27 May 2019). Amidst her choices is the return of The Lehman Trilogy, impressing Jonathan Baz with its ‘sheer technical theatrical genius”, while Aleks Sierz asks whether wearing headphones during a performance of Anna at the National Theatre is all a gimmick or vital to the impact of the play.
Notwithstanding its flawed message, in these times of unparalleled political polarisation The Lehman Trilogy will be lapped up by eager audiences. And for sheer technical theatrical genius, the play is in a class of its own.
Amour, a whimsical tale of a Parisian clerk who finds himself temporarily gifted with a superhuman ability to walk through walls, lends itself perfectly to London’s Off West End theatre scene.
As part of a new series, our editor Lisa Martland picks out seven of her Top Picks from the last week of theatre (29 April-6 May 2019), ranging from Johnny Fox’s nostalgic return to see All My Sons and Maryam Philpott’s thoughts on the much-anticipated Rosmersholm starring Tom Burke and Hayley Atwell.
It has been 50 years since Man Of La Mancha last played in London’s West End and based upon this year’s offering from the ENO and co-producers Grade-Linnitt it is easy to see why.
Not seen on a London stage for 40 years, Ain’t Misbehavin’ is gloriously revived at Southwark Playhouse in a co-production with Colchester’s Mercury Theatre.
George A Romero’s 1968 movie Night Of The Living Dead not only unleashed zombies upon an unsuspecting world, but was also one of the first movies to fuse horrific gore with political allegory and just a spattering of satire.
Canny casting directors would do well to make the trip to Highgate and catch the quartet of Sophie Camble, Rosie Needham, Louise Young and Kara Taylor Alberts in The Marvellous Wonderettes.
Janie Dee and Joanna Riding are two of the UK’s finest musical theatre performers. At the National Theatre the return of Dominic Cooke’s acclaimed production of Follies currently stars the two actresses.
Tony’s Last Tape arrives at Clapham’s Omnibus, four years after Andy Barrett’s perceptive work first played at the Nottingham Playhouse. A one-act monologue that lasts a little over an hour, Philip Bretherton plays an 87-year-old Tony Benn, surrounded by gadgets and looking back upon aspects of his life.
Witness For The Prosecution, Agatha Christie’s murder thriller is playing very successfully at London’s ingeniously converted County Hall venue. RSC leading man Jasper Britton heads the latest cast change and as he took over the role of defence barrister Sir Wilfrid Robarts he and I chatted about the play and his career…
Rip It Up does exactly that to the conventional West End tried and tested jukebox musical. In part a reality TV show and in part a showcase, the evening encapsulates a musical time-machine that will have you tapping your feet and smiling from cheek to cheek despite your best attempts to resist.
Of all the new musicals that Broadway has shipped to London in recent years, Waitress is quite possibly the greatest as Sara Bareillles takes an unflinching look at 21st century America through the eyes of waitress Jenna and her two best friends and workmates, Becky and Dawn.
Musical theatre comedy done well is a blissful way to spend an evening. So it is with Dolly Parton’s 9 to 5, currently playing to packed houses at the Savoy Theatre.
Waitress opens in the West End this week and I grabbed a rare, brief opportunity to chat with the musical’s Tony-winning director Diane Paulus about the show.