At the end of the evening the great diva, director and muse informs us that we too must sing. In a packed house, on the far side of a pandemic, which made us fear one another’s very breath, we join the posse of old-timers and ingenu(e)s.
Matthew Cottle is currently starring in Patrick Marber’s revival of Alan Bennett’s classic farce Habeas Corpus, now running at London’s Menier Chocolate Factory until 26 February 2022.
Joe Orton had been dead six years when Alan Bennett’s 1973 Habeas Corpus made its West End debut in a production starring Sir Alec Guinness.
Alan Bennett’s Habeas Corpus gets a belated revival at the Menier Chocolate Factory. Stuck in the past, should it have been left in the past too?
In 1973 when Habeas Corpus was first staged, it reflected attitudes and behaviour indicative of its time.
We round up the reviews for the European premiere of Paula Vogel’s play now playing at the Menier Chocolate Factory.
We chatted to Molly about starring in the European premiere of Paula Vogel’s play Indecent at the Menier Chocolate Factory.
Rather than return cautiously with a safe old feelgood favourite the Menier’s artistic director David Babani has taken – deep breath – a new American-Jewish Broadway play about a 1923 scandal about a lesbian play in Yiddish from 1907, and its 1940s aftermath in a doomed attic in the Lodz ghetto
This may be a sweeping statement, but if you’re not profoundly affected by Indecent, Paula Vogel’s provocatively titled powder keg of a play, as staged here in Rebecca Taichman’s Tony Award-winning production, then can you really call yourself a theatrelover?
The week began with Andrew Lloyd Webber being mentioned by Boris Johnson, as he extended the lockdown from the originally hoped-for ‘Freedom Day’ of 21 June to 19 July, at which point theatres may be able to reopen without social distancing in place;
I’ve launched a brand-new weekly podcast, called ShenTen, in which I will countdown my personal top tens in different theatrical categories.
The Menier Chocolate Factory has announced the forthcoming two productions – the European premiere of Paula Vogel’s Tony Award-winning play Indecent, directed by Rebecca Taichman; and Alan Bennett’s Habeas Corpus directed by Patrick Marber, who returns to the Menier following his hit production of Tom Stoppard’s Travesties.
Ought To Be Clowns barely saw 250 shows this year, quiet by his standards. And as is the way of these things, here’s a rundown of some of the productions that moved me most…
With a new year fast approaching, it is an interesting time to reflect on small changes across the theatre landscape in 2019 that will continue to shape how UK theatre will look as it moves into a new decade.
Emma Clarendon selects her favourite theatre productions of the year…
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre including Love London Love Culture’s delight at watching Jamie Lloyd’s razor sharp West End production of Cyrano de Bergerac.
Just walking into the theatre and seeing Paul Anderson’s vibrantly coloured set for The Boy Friend chases away the winter blues and transports you to 1920s Riviera in this sparkling production.
The Boy Friend is an ideal show to lighten these dark winter days, providing a healthy dose of escapism and pure joyousness for all.
At the end of a year in which female-forward and feminist theatre has made so much progress, The Boy Friend looks regressive as well as nostalgic. On the other hand, it is a colourful and escapist retreat from the winter, and we could all do with a night off from angst.
As light as a madeleine and as frivolous as a macaron, Sandy Wilson’s The Boy Friend proves a festive treat at the Menier Chocolate Factory.