Mad As Hell at Jermyn Street Theatre is an excellent new play that unearths the story of Peter Finch and Eletha Barrett, and the obstacles they faced during their time together.
Think of England at The Vaults is an unforgettable experience that transports you back to war-torn London with ease, crafted and performed to perfection – the show of the festival so far.
Be Prepared at the VAULT Festival is a truly compelling one-man play, showing the individual nature of grief – a very clever production.
My verdict? A bold attempt at a classic play, utilising the unique performance space well – this Macbeth at the Rose Playhouse is worth a visit, if you can keep out the cold…
Terry Johnson’s Ken has transferred from the Hampstead Theatre (following a sell-out 2016 run) for a limited time, starring Jeremy Stockwell alongside the writer, and marking the beginning of the venue’s 2018 spring season.
Dave Malloy’s score is quite simply astounding. Beginning with a sole accordion, in the early stages it all sounds quite traditional and very recognisably Russian (without straying into stereotypes), but as it goes on there is more of a modern tinge to the music.
My verdict? A smart new play that’s about people as much as profits, some very funny moments as well as thought-provoking ones – an excellent production all round.
Julius Caesar at the Bridge Theatre is a visceral and dynamic take on the classic Shakespearean political thriller with star performances and innovative staging.
Woman Before a Glass is about infamous art collector and socialite Peggy Guggenheim – also apt as the theatre is not too far away from where she opened her gallery Guggenheim Jeune exactly 80 years ago.
In Tomorrow Creeps at The Vaults writer (and GOLEM! Theatre co-founder) David Fairs has drawn his text from 16 Shakespeare works (including the sonnets) as well as a sprinkling of Kate Bush magic.
Strictly favourite Brendan Cole returns for his 10th annual tour, bringing All Night Long back to the stage after a successful run in 2017.
The Claim at Shoreditch Town Hall (and touring) is an intelligently written play that points out uncomfortable truths about the asylum decision system – a vital and engaging watch.
It’s that time of year again: the annual VAULT Festival is upon us, and looks set to be bigger and better than ever. There’s a lot to love about what goes on at this event, with an incredible range of theatre, comedy, music and refreshments on offer every day for eight weeks.
Bunny at the Tristan Bates Theatre is a one-woman show that plays with the ideas of surprise & suspense, thrillingly performed by Catherine Lamb – well worth a watch.
You might be forgiven for thinking that only certain Shakespeare plays are allowed to be produced in any given 12-month period – for example, last year I saw five different Twelfth Nights, and this year there are at least three Macbeths already on my radar.
We first encounter Charley Wace on the streets of Seven Dials, asking passersby if they have seen a valuable item; he happens to spot famous author H.G. Wells in the crowd and asks for his help.
In Wine, West has come up with an interesting hour of theatre; at times laugh-out-loud funny, but also heartbreaking and provocative. It is cleverly put together, slowly teasing out the couple’s history, building up to the explosive reveal.
Kicking off my challenge was the Old Vic’s production, which I’ve seen four times (and by some bizarre providence I managed to see each actor playing Tiny Tim).
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.
What is personally the most galling is the programming of Twelfth Night. Emma Rice’s production was my favourite show of 2017. It almost feels like they’re trying to brush it under the carpet by putting it on again so soon.