The Werewolf of Washington Heights is a play by Christie Perfetti Williams that was first staged in the US in 2017.
Mary Jane Figtree’s play is based on the concept of an Italian 90s play called Orgasmo e Pregiudizio. With this, her first play, she has written something that succeeds in being both funny yet emotionally resonant.
The Geminus is an atmospheric new play by Ross Dinwiddy and is based on Joseph Conrad’s novella The Secret Sharer. By incorporating a romantic twist, Dinwiddy creates an emotional centre to the piece, which is so important when translating prose to the stage.
One test of biography jukebox musicals is how much an uninitiated audience member ends up learning about the artist through the course of the show.
Just as much as the emotional impact, though, it’s the unique and original approach to the subject matter that makes this debut production from Turn Point Theatre particularly memorable.
One thing I’m really loving about the Camden Fringe is the breadth of creativity and experimentation. Scenic Reality is a prime example of a fresh piece of new writing that explores different storytelling techniques.
Touching on themes of religion, sexuality and more than one form of mental illness, the play asks some difficult questions and frequently makes for unsettling viewing, and yet Ned Bennett’s production remains utterly compelling from start to dramatic finish.
With plenty to say about the shallow foundations of political leaders hiding behind their PR machines, Jamie Lloyd’s triumphant Evita is raw, fresh and intense – “oh what a show!”
suspect this show will have a future, evolving life, and it is well worth checking out if it appears on your radar. I’d certainly be interested in seeing what they do with it next.
Full disclosure, I was not excited about seeing a show about Boris Johnson. Frankly I’m feeling a tad Boris-ed out these days, but fortunately, given a lively and plentiful audience, not everyone seems to be turned off by the subject matter.
This year I have the great privilege of getting to cover lots of the Camden Fringe shows, my only regret is that I can’t see them all (literally impossible, so many shows running, Londoners check it out, it is a treasure trove of varied goodies).
“This is my first step into the realm of truly professional theatre-making, and, I’ll be honest, I didn’t expect it to be this tough!” Exciting young theatremaker Patrick Bayele doesn’t pull any punches as he tells us about creating new production How To Save The World. Read his fascinating interview, then book you tickets.
“This play is going to change your life.” It’s a bold statement, but you can’t help but believe Patrick Bayele, director of How To Save The World, when you look into his eyes. He believes. Watch the behind the scenes interview with Bayele and his cast, then book your tickets.
‘We could all be heroes’ promises new interpretation of Chekhov’s classic drama The Seagull, How To Save The World. To find out how, you’ll have to visit Studio 9294 later this month. Book your tickets now!
Exchange Theatre returns with its production of Jean-Paul Sartre’s The Flies, running alternately in French and English at The Bunker Theatre for a limited time.
It may be called Precious Little, but this thought-provoking play at the Brockley Jack Studio Theatre has plenty to say.
The Sign of Four is fast-paced family fun, a great piece of storytelling with a little bit of everything: mystery, comedy, romance (and bromance), and even a bit of a history lesson.
“What’s your relationship with this man?” It’s a question that Nicholas has heard a lot recently, to which he still hasn’t found a satisfying answer.
The only thing that strikes me when I watch Shit-faced shows – it’s not my first – is that sometimes the off-kilter fun can feel a little forced.
Grief on stage and in popular culture is rarely considered as a psychological state of its own but as a means or driver for other behaviour.