The Park Theatre has been absolutely buzzing with two sell-out shows, including in Park 90, Tom Wright’s debut play My Dad’s Gap Year, which has nearly sold out the rest of its run too. What’s the secret alchemy between Wright and his director Rikki Beadle-Blair?
Tom Wright’s My Dad’s Gap Year, a new play about gender fluidity and family love, has some good moments.
As part of her ongoing post-show Q&A series, on Thursday 7 February 2019, Mates co-founder Terri Paddock returns to London’s Park Theatre for the world premiere of new comedy My Dad’s Gap Year. Got any questions?
When you see around 200 different shows, you’re bound to come across a few duff ones, but I’m pleased to say that nearly all of the bad shows I saw can be found in this post.
This is possibly one of the most frustrating productions to hit the stage in 2017 so far. Stewart Permutt has created a play about two opposing people and focusing how while they are different on the surface – underneath both are equally insecure but somehow neither character’s stories feel remotely finished.
If, as she says, Corrie and EastEnders veteran Michelle Collins wants to shed her ‘soap actress’ image, she needs to find bolder challenges than Stewart Permutt’s comic but empty two-hander A Dark Night in Dalston.
Stewart Permutt’s new play is billed as a comedy and indeed director Tim Stark, interviewed in the programme notes as, describes the work as “very, very funny”. The trouble is, it isn’t very funny at all.
Ex-EastEnder Michelle Collins stars in haunting, if slightly flawed, account of belief and loneliness.
Former nurse Gina couldn’t help it, she just had to help Gideon when she found him dazed and wounded on her Dalston doorstep. And he just had to stay in her flat when it turned dark because it’s Friday and he’s Jewish and he can’t take the train all the way back to Stanmore on shabbat.
Pop quiz. Hum a song from Thoroughly Modern Millie, which is at the Playhouse until Saturday. Aha, Sammy Cahn and James Van Heusen’s title number. Very good. And?
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