“We all of us write our own history to some extent.” So says writer/director/actor Clive Moffatt. In his case, he’s has done this very literally; Nostalgia, the revue he brings to the White Bear Theatre next week, is based on his own life story. Discover more in the interview below, then book your tickets.
What’s going on in the rehearsal room for Nostalgia, a new revue coming to the White Bear Theatre later this month? There’s only one way to find out – take a look at our gallery… then book your tickets!
Blending fact and fantasy, Nostalgia, the latest creation from Nomadic Theatre, tells a compelling and entertaining story at the White Bear Theatre later this month. Book your tickets now!
When I read that Anything that Flies was her debut play by writer, Judith Burnley, I naturally assumed it was a young playwright being given a big chance by Jermyn Street’s new artistic director, Tom Littler.
I couldn’t hide my glee when I Know Him So Well, Memory and With One Look were included. In fact, her Grizabella days may be behind her, but Paige could still pull off a fierce Norma Desmond if the occasion called for it.
Gillian Lynne’s original choreography is still a joy to behold, every dancer in the cast possesses amazing control and the ability to somersault in such a graceful way that would rival any cat. The score is one of Andrew Lloyd Webber’s most instantly recognisable, with Memory being the pinnacle moment.
Al Smith’s debut play about love, perversion and memory is both electrifying and emotionally satisfying.
Revival of the late Brian Friel’s 1979 classic is brilliantly acted, beautifully directed and haunting in its ambiguity.
New one from Nick Payne explores brain science and female relationships, but is just a bit too superficial.
New drama about traumatic amnesia is based on a good idea, but is just too bland to stay long in the memory.
Once upon a time, quite recently, you couldn’t move for plays about youth. Now, there’s been an avalanche of dramas about ageing, usually in the context of dementia and family life. Maybe all of our main playwrights have suddenly grown up, or maybe the endless quest for novelty has deposited us on the shores of the current trend-setting idea. Nicola Wilson’s Royal Court debut is yet another play about Alzheimer’s, ageing and memory, but is it any different from Florian Zeller’s The Father, April de Angelis’ After Electra or Emma Adams’s Animals?