While Original Theatre’s Apollo 13: The Dark Side of the Moon is largely filmed in the homes of actors, the audience is taken straight into the interior of the spacecraft as a mission which seems routine goes badly wrong.
Ultimately this Old Vic in Camera production of Faith Healer, starring Michael Sheen, David Threlfall and Indira Varma, is a flawless rendition of a deeply engrossing and emotional text.
Strictly 18-plus, Pinocchio Gets Wood is a riot of filth in words and gestures right from the first appearance of Dame Ciabatta Myflange (the tireless Daniel Page). No Widow Twankey, this Dame makes a living selling sex toys.
Martin Sherman’s intense play is revived by Hope Mill Theatre with an absorbing performance from Maureen Lipman as the 80-year-old recounting the events of her life.
Teater V’s Safe Space faces a tough subject head on with some style while always staying one step ahead of its audience.
The marvellous Hope Mill Theatre in Manchester has co-produced Godspell The Concert with Ginger Quiff Media.
You can catch Until the Ad Break at Online@theSpace until the end of August. It is a reimagined scene from the company’s 2018 show, 21 Minutes, created and filmed during lockdown.
Welcome to the virtual Edinburgh Fringe. Here I look at the shows made available via The Space UK which run under ten minutes duration. All are available until 31 August at Online@theSpace.
A new play written for lockdown by Martin Murray, Jury puts us into the jury room – or Zoom – as 12 people on furlough come together to consider a case against a high-profile white female TV presenter: accused of grooming a young black boy.
Alice: A Virtual Theme Park is ultimately a show of charm and occasional barbed wit, which is fun for both families or adults. You don’t have to switch your video on and join in, but it is fun if you do,
Not for the faint-hearted, Grip is worth a look to consider what it adds to a constant contemporary debate. It is available for free once you have registered for the Reading Fringe.
Claire Louise Amias’ pair of plays, The Masks of Aphra Behn and Oranges & Ink, resurrect Aphra Behn from a place of relative obscurity into sharp relief as a chatty, warm, and witty raconteur.
As an audio play for three rather than a stage monologue, Natalie Barney’s Last Salon is directed by Fiona Leonard and reimagined with the voices front and centre.
By developing a language which is uniquely that of the theatre, the world in which Hot Coals Theatre’s film My Darling Christopher exists comes to life.
A bold initiative from Platform 4 comes to your computer screen with this new immersive digital film. Invisible Music starts from the point of considering the issues around hearing loss but in a startling and powerful way, it manages to be about so much more.
Harry Gabriel is one of those unsung heroes in theatreland: the stage door keeper. Part surrogate parent, part nurse, part firm friend, they are the conduit between front and back of house, cast and crew, performer and fan.
In forty years at the Sha…
Raising funds for her beloved Omnibus Theatre (a treasure based in a former public library on the edge of Clapham Common), Miriam Margolyes proves to be every inch the entertainer and raconteur in her In Conversation With.
Known for her fr…
Hot on the heels of their starry audio version of The Understudy, Lawrence Batley Theatre has now released an audio version of Toast to the digital space following a successful tour last year.
When I saw this show live at The Other Palace, I was str…
The Berliner Ensemble have located a jewel in their theatre history. Bertolt Brecht’s Mother Courage is a modern classic of the German theatre.
Bertolt Brecht’s Mother Courage is a modern classic of the German theatre. Written in 1939 it is often descr…
Edalia Day brings their mix of observational comedy, music, and Shakespearean interpretation to the video game space in the show Super Hamlet 64.