The Last Temptation of Boris Johnson, currently playing at the Park Theatre, is a rollicking political comedy which leaves the audience in stitches.
Hopes for The Last Temptation of Boris Johnson couldn’t be higher: it is again built around truth – a 2016 dinner party where Boris and Marina Johnson entertained the Goves and Yevgeny Lebedev, starstruck owner of the London Standard.
Journalist and playwright Jonathan Maitland will be kept on his toes rewriting his latest play, The Last Temptation of Boris Johnson, nightly to ensure it keeps up with the politician’s ever-changing world.
London’s Park Theatre has announced its new January to June 2019 season featuring seven world and four UK/European premieres.
For a theatre that consistently impresses with the diversity of its received productions, it’s interesting that it should be hosting premieres in both of its houses, opened within days of each other, that both concern drug abuse. Admittedly, abuse of a very different nature.
When I read it and saw that Elspeth was what one might call a character part I jumped at the opportunity and was thrilled. Elspeth Howe is not essentially like me and these are the kind of roles that these days, I am very attracted to, I’ve always been attracted to them actually.
Park Theatre Artistic Director Jez Bond today announces its new season of work, all in association with a host of exciting and diverse producers, including four world premieres, three UK premieres, two European premieres and a London premiere.
Jonathan Maitland’s AN AUDIENCE WITH JIMMY SAVILE, which recently broke the all time box office and attendance records at Park Theatre in London, and is playing there until 11 July 2015, will transfer to the Edinburgh Festival Fringe from 11 to 22 August 2015.
Extraordinary man. Extraordinary acts. Extraordinarily brave both of Jez Bond to commission it for the Park Theatre and Alistair McGowan to lend his immaculate skills as an impressionist to the portrayal of a beast.
When Margaret Thatcher died on 8 April 2013, she remained alive and well in two West End characterisations, neither particularly flattering. In Billy Elliot The Musical, during the “Merry Christmas, Maggie Thatcher” set-piece, her giant Spitting Image-style head loomed large above a group of festive miners, one kitted out in a trademark Iron Lady blue […]
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