A decent production of a slightly bland musical – The Hired Man’s 20-30 year span is over-ambitious for the given running time.
Uncle Vanya at the Hope Theatre is a well designed production, with some strong performances – but its urgency clashes with the tone of the play.
Betrayal is a real gem from the Pinter collection, benefiting from the minimalist design and slick direction of this production – Charlie Cox’s performance is a real highlight.
An inspired version of The Crucible as a warning from history and a modern day parable – Caoilfhionn Dunne is outstanding as John Proctor.
Night of the Living Dead is an instantly recognisable title; George Romero basically kick-started the zombie genre in his 1968 flick, though they were just ‘ghouls’ then, a moniker adhered to in this: Night of the Living Dead Live.
Tina: The Tina Turner Musical is a cast recording that’s worth listening to whether you’ve seen the show or not, as you can absolutely appreciate the performances & musicianship – and it’s definitely one for Tina Turner fans to add to their collection. Remarkably, it’s almost like listening to Tina herself.
Where is Peter Rabbit? is a charming family musical with some beautifully designed puppets – maybe Peter Rabbit needs to be found a bit sooner next time.
A clash of extremes, as hilarious moments mingle with serious and dramatic ones. A Super Happy Story (About Feeling Super Sad) at The Vaults is an enjoyable show with an important message to get across.
The Marvelous Wonderettes is a frothy concert musical that is a nostalgic bit of escapism – two hours of beautifully performed classic pop tunes.
I’m not one for twee, saccharine niceness, but the simple, honest goodness that runs through Come From Away is something that I can get on board with.
Whilst What’s Inside: Songs from Waitress isn’t a vital piece for your collection, it’s definitely something that the more enthusiastic fan should wrap their ears around.
The Noises is about a dog, played by Amy McCallister, whose physicality of performance is unwavering and really serves to underline the canine nature of the character she is playing. She embodies Luna as a textured, multi-faceted character (and dog), and it’s very impressive.
Following an acclaimed run at the Traverse Theatre, Fringe First winner Kieran Hurley’s Mouthpiece has transferred to Soho Theatre for a limited run.
“What’s your relationship with this man?” It’s a question that Nicholas has heard a lot recently, to which he still hasn’t found a satisfying answer.
The only thing that strikes me when I watch Shit-faced shows – it’s not my first – is that sometimes the off-kilter fun can feel a little forced.
My verdict? A show that is unabashedly in love with theatre, revelling in the curious mischief of Angela Carter’s novel – what a joy it is to dance and sing, indeed!
Lionel Bart and Alun Owen’s musical Maggie May first opened in London 55 years ago, when it made its debut at the Adelphi Theatre in September 1964 – despite its success it hasn’t been seen since.
‘The Case of the Pink Wellington Boots with the Red Hearts’. Not the kind of title you’d expect to spring from Agatha Christie’s pen – instead, an evening of murder mystery hijinks courtesy of Degrees of Error and their show Murder, She Didn’t Write.
I really can’t overstate how insanely great the choreography is in this production; it is such an incredible bonus that I know if I ever see another performance of Lord of the Flies without it, I will actively mourn its absence.
The Price is a stellar production of an intriguing play about family tensions – the set is breathtaking and Miller’s insights remain as perceptive as ever.