“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.
Closing Phil Willmott’s ‘Enemies of the People’ 2019 Essential Classics season is Shakespeare’s classic Othello, marking the centenary of the Jallianwala Bagh massacre, with events set in the British Raj.
It’s fair to say that the immediate future is looking pretty sweet for the Broadway transfer of Sara Bareilles’ Tony-nominated musical Waitress with more tickets released and the show extending its booking period to 19 October 2019 at the Adelphi Theatre. But how did the Mates rate the show: did they want more pie?
“I’ve got two dads.” Playwright, actor and spoken word artist David Judge’s latest play SparkPlug is inspired by autobiographical events: his mother is white, his biological father is black, and the father who raised him is white.
Queen C*nt: Sacred or Profane? It’s a great, intriguing title, and the strapline promises even more: to let us watch Deborah Ward and China Blue Fish leave their husbands, practice witchcraft, and destroy capitalism.
A Hundred Words for Snow is a perfectly crafted one-woman show that touches, entertains and teaches, as it explores grief and polar exploration – a charming performance from Gemma Barnett.
Based on the 2007 film of the same name by Adrienne Shelly, the musical adaptation of Waitress made its Broadway debut back in 2016 and has now made the leap across the pond to London’s West End, setting up shop at the Adelphi Theatre.
Arinzé Kene’s one-man show good dog has been brought back by tiata fahodzi for a UK tour, directed by Natalie Ibu and starring RADA graduate Kwaku Mills.
Luckily, Sarah Chew – writer and director of Lipstick: A Fairy Tale of Iran – confronts the schism in feminism between the east and west with humour, grace and heart.
Come From Away is a show that needs to run and run; its brilliant music and wealth of humour are enough to keep you coming back for more, and we can never remind ourselves too many times of the good that humanity is capable of when it puts its mind to it.
For Greyscale, she has teamed up with Joel Samuels to respond to the Aziz Ansari scandal, creating an original theatrical experience for this year’s VAULT Festival with Anonymous Is A Woman Theatre Company.
An innovative take on the lesser-known Arthur Miller play The American Clock, bringing the Vaudeville elements to the fore – as startlingly relevant as it ever has been.
Something that always impresses me is when a play manages to get the line between tragedy and comedy exactly right; Rattled is disturbing and gripping, but it’s also very, very funny.
Continuing Phil Willmott’s ‘Enemies of the People’ Essential Classics season for 2019 is a new musical, Can-Can!, following on from Arthur Miller’s An Enemy of the People.