Love London Love Culture rounds up the reviews for Big, the musical based on the Tom Hanks film, now playing for a limited season at the Dominion Theatre.
Big, the film, holds a special place in everyone’s hearts but this musical version is out of step and time.
Big doesn’t always mean better, size does matter, it’s not how big it is it’s what you do with it – whatever the pun, Big the Musical is a severe disappointment at the Dominion Theatre.
What a great week the Barn Theatre had last week. After the final production in its inaugural year, Kirk Jameson’s actor-musician revival of Stiles & Drewe’s family musical Just So, opened to another batch of rave reviews, the Barn was celebrating a nomination for Fringe Theatre of the Year in the prestigious Stage Awards. Check out our round-up of review highlights below. Time to get booking!
The Barn Theatre’s much-anticipated, actor-musician revival of Stiles & Drewe’s 1984 family musical Just So officially opened in Cirencester last night (10 December 2018). Check out our gallery of first-look production shots for proof that this really is #theatreworthtravellingfor – not to mention the video of audience reactions. Time to get booking!
Rudyard Kipling Just So Stories, a collection of short stories about the origins of different animals, was first published in 1902. Director Kirk Jameson, now reviving Stiles & Drewe’s musical Just So, explains why they still resonate. Time to get booking!
We’re counting down to the opening of the Barn Theatre’s much-anticipated, actor-musician revival of Stiles & Drewe’s 1984 family musical Just So. After early rehearsals in London, the ensemble cast have now moved into their new home in Cirencester. Sneak and peek into how they’ve been getting on – and then get booking!
Rehearsals are well underway for the Barn Theatre’s much-anticipated, actor-musician revival of Stiles & Drewe’s 1984 family musical Just So. As part of his preparations, director Kirk Jameson paid a visit to legendary lyricist Anthony Drewe. Watch below – and then get booking!
Alan Bennett’s The Habit Of Art has returned to its meta-spiritual home this week, arriving at the Oxford Playhouse to amuse and entertain its erudite audience with in-jokes about the city’s gay scene and penises.
It is nine years since Nicholas Hytner’s National Theatre of The Habit of Art opened Bennett’s fascinating play: high time we had it back, and this York-led collaboration does it proud.
Matthew Kelly will star as WH Auden opposite David Yelland as Benjamin Britten in the first-ever revival of Alan Bennett’s 2009 play The Habit Of Art.
We should applaud productions brave enough to kick against the seasonal schmaltz. From exciting trap doors in floors and cupboards, to a talking disembodied head and spectacular floods, Tom Piper’s stage set is a big draw.
There’s a wonderfully rough magic to Justin Audibert’s production of The Box of Delights that makes it the perfect choice for Wilton’s Music Hall’s festive show.
Matthew Kelly and Josefina Gabrielle are to star in the new, world premiere stage adaptation of John Masefield’s 1935 Christmas book The Box of Delights, which runs at London’s Wilton’s Music Hall from 1 December 2017 to 6 January 2018.
It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife! It also seemed to be acknowledged that Pride and Prejudice had landed at the Birmingham Repertory Theatre this week, as a healthy house full of enthusiastic theatregoers packed the auditorium to see the popular period piece.
Jane Austen’s beloved novel is brought to life in the Regent’s Park Open Air Theatre production currently touring the UK – with a few changes that muddle the plot.
Full casting is announced today for Regent’s Park Open Air Theatre’s acclaimed production of Jane Austen’s Pride and Prejudice which, after sell-out performances in 2013, returns this year to conclude the 2016 summer season ahead of a major UK tour in September.
Trevor Nunn’s production of Volpone at the RSC’s Swan sagely contends that the sins of greed and avarice are timeless. With Ben Jonson’s 17th century comedy set squarely in a modern Venice, if some of Ranjit Bolt’s occasional script revisions are schoolboy clumsy (silly references to Greece and the Euro pop up), they can be forgiven in a plot in which incredible complexities may not have weathered the test of time as much as the brilliant observation of the flawed human condition that makes this play so entertaining.