Hjem at the Greenhouse Theatre is suffused with tenderness and has the potential to magnify the characters and their songs to embark on a more extensive, profound journey.
12 at the Greenhouse Theatre draws a line between language, environment and memory in a tender story of hope and deep affection that questions what is worth preserving as we lose our grasp of the world around us.
The visual interpretation and slapstick style of the RSC’s The Comedy of Errors make it a joy to watch, with timing used creatively to garner the most laughs.
Theatre needs more bisexual stories and with further development, Somewhere To Belong at the Lion and Unicorn Theatre could go a long way in improving representation.
Choir of Man entertains in the Wonderground Earl’s Court, from ubiquitous producers the Underbelly. It is certainly hard to leave without a big smile on your face.
Definitely a bold valley to travel down, Friends fans should explore Friend (The One With Gunther), a nugget of not-so-guilty pleasure watching.
Theatre Peckham’s artistic director Suzann McLean hits the target as she notes that …cake is a bold new play which honours intersectionality.
Lucy McCormick’s show Life: LIVE! is a powerful social commentary that prompts rethinking on the expectations we have of those in the spotlight.
by Laura Kressly Whilst feeling uncertain and lost may well be something everyone goes through at least at one point in their life, thats no consolation in the moment. Everyone else seems to have purpose, direction and a place, and the sense of not having that can be debilitating. That’s certainly the case for Myah. […]
Leanne Henlon as Cleo and Tia Bannon as Kara deliver extraordinarily versatile performances endowed with conviction and passion in seven methods of killing kylie jenner at the Royal Court Theatre.
In Hamilton and Me, Giles Terera shares his personal story and relationship with Hamilton and his character, Aaron Burr. It covers how he auditioned for the role of ‘the villain’ and the journey he went on in order to understand and embody him on stage.
by Laura Kressly In the middle of a dark room, I am ushered into what looks like a largish, stand-alone cupboard. With a spotlight above a single chair facing a perspex sheet covered with a window blind, there is an immediate sense of the audience becoming the performer. Given that the four mini-plays making up […]
There isn’t a linear plot or story in The Language of Kindness, rather it’s in the individual moments between an unwell person and their nurse where this piece has its emotional power.
It’s been 436 days since the King’s Head Theatre closed its doors due to the pandemic, but who’s counting. The theatre makes a comeback with the debut of No Strings Attached by Charles Entsie, an absorbing, site-specific production about the encounter between two strangers late at night, on the third floor of an underground car park, hiding from other people’s gaze.
After the past year, you can certainly do a lot worse than Here Come The Boys in terms of sheer entertainment in this fun, slick evening.
This digital production of The Money (written by Isla van Tricht and directed by Guy Woolf), is really well done. It’s slick, with an excellent script and fantastic actors.
Despite the show only having a week’s run and now closed due to London’s descent into Tier 3, Frostbite: Who Pinched my Muff? deserves recognition.
If you can afford your own private performance, Bard in the Yard is a wonderful, gentle re-introduction to live theatre and a reminder of why we love it so much.
Between Ben Yeoh and David Finnegan, there’s an impressive array of interests, knowledge and skills. Theatre, economics and climate change are among them.
I, Malvolio is Tim Crouch’s retelling of Shakespeare’s Twelfth Night through the eyes of the blighted and picked-upon puritan, Malvolio. It’s the fourth time Crouch has written such an adaptation, which he hopes will “unlock Shakespeare for young audiences”.