Illuminating about both the craft of acting and the glorious show that is Hamilton, Giles Terera’s book Hamilton And Me takes the reader on a whirlwind journey through what was clearly an incredibly important period in the performer’s life.
“I’m afraid of the skin I’m in.” Quick out of the blocks in Soho Theatre’s reopening season is Amanda Wilkin’s Verity Bargate Award-winning debut play, Shedding A Skin. The run has socially distanced seating, but for those who can’t attend in person there will be a live-streamed performance on 15 July.
The Temporal Society is another superb bit of escapism from the minds of CtrlAltRepeat, taking you back in time and keeping you on your toes – Rebekah Finch and Rachel Waring are the double act we’ve all been waiting for.
A superb hour of movies and dance, with a fun concept and brilliant choreography – Aljaž & Janette are absolutely in their element in Remembering the Oscars.
Shane Richie follows in the footsteps of Pete Postlethwaite, taking on Justin Butcher’s one-man play Scaramouche Jones or the Seven White Masks for Ginger Quiff Media and Stream.Theatre.
Not only does it work as a standalone piece of digital theatre, this adaptation of The Picture of Dorian Gray is also really intelligently linked to the original story.
An inventive and compelling retelling of a Christmas classic, the Polka Theatre’s A Christmas Carol is a great introduction to the tale of Mr Scrooge for audience members young and old.
I may be woefully behind on my show write-ups, but I couldn’t not mark The Show Must Go Online coming to an end – at least until further notice.
At a time when hatred seems to be the new norm (whether antisemitism, homophobia, or literally anything else), narratives like those discussed in Little Wars are more important than ever.
Viper Squad is a highly entertaining and thoroughly engaging piece of interactive Zoom theatre, providing human connection and a welcome sense of escapism.
I’ve really admired the work of Sydney Aldridge throughout the course of The Show Must Go Online, so who better to talk to about casting and her experiences with this innovative Zoom theatre project?
From Rome to the Forest of Arden, as The Show Must Go Online next tackles As You Like It.
I’m running out of superlatives for The Show Must Go Online. Each show is exceptional, including the latest staging of Henry V, and manages to improve upon the previous week in as many ways as possible.
Platform 4’s Invisible Music presents a beautiful and thought-provoking soundscape that is a wonderful manifestation of creativity in this period of isolation.
Nigel Slater’s Toast is a top quality production full of heartwarming moments and alimentary temptations – grab yourself a Walnut Whip and make yourself comfy.
Writers Henry Roadnight and Adam Johnson have set about adapting their musical Third Wheel into an online production.
Actress Lucy Aarden is part of #IsolationEnsemble, a company formed by director Abbie Riddell to raise urgent funds for theatres across the UK.
Reading that the Globe may struggle to come back from this current crisis without the help of donations and emergency funding didn’t seem quite real.
The Show Must Go Online was firmly back in history mode with the beginning of Shakespeare’s second tetralogy in Richard II. Not quite as much bloodshed as the previous set of histories that we’ve seen – more posturing and challenging than anything.
I posed some questions to The Show Must Go Online returnees Luke Barton, Kristin Atherton, David Johnson and Lucy Aarden about their experiences with this weekly lockdown hit.