The extraordinary Caroline or Change makes the leap into the West End at the Playhouse Theatre, with a titanic Sharon D Clarke at the helm.
Full casting has been announced for Caroline, Or Change, the musical written by Tony Kushner, with a score from Tony Award-winning Jeanine Tesori, which will run at the West End’s Playhouse Theatre from 20 November 2018 to 9 February 2019.
What is a national theatre for? You’d be forgiven for answering ‘complaining about’ given the amount of sniping regularly aimed at the institution. But with the launch of Public Acts, the National Theatre’s new national initiative, you feel that they’ve alighted on the answer.
Tony Kushner and Jeanine Tesori’s complex and challenging civil rights musical Caroline, or Change makes its long-awaited London return to the Hampstead Theatre.
There are places deep inside us that only song can reach; when – in Caroline, Or Change – Sharon D Clarke’s sometimes mellifluous, sometimes scorching, tones reach that place, they shake your soul and awaken your spirit.
Latest play from DryWrite’s Vicky Jones provides a vivid picture of contemporary metropolitan womanhood.
Touch may come from the same stable as the amazing Fleabag but drops the posh and goes Welsh: imagine Stacey left Gavin for a squalid London studio, a diet of Echo Falls, microwave dinners and random sex and you have Amy Morgan’s deliciously messed-up Dee.
Elliott & Harper Productions have announced their first West End show in the form of Heisenberg: The Uncertainty Principle, a Simon Stephens play which will take up residency at the Wyndham’s from October. Rather excitingly, it stars Anne-Marie Duff and Kenneth Cranham.
Camden Stands with Grenfell Tower: An evening of music and poetry in aid of Grenfell Tower Fire Fund.
Hosted by Ché Walker, Friday 23rd June sees a night of music and poetry in honour of the victims of the Grenfell Tower tragedy and to benefit the Grenfell Tower Fire Fund.
A musical about cancer? As unlikely as it might seem, A Pacifist’s Guide To The War On Cancer isn’t even the first one that I’ve seen. That dubious honour goes to Happy Ending, one of the most misjudged shows I saw last year, but fortunately this Complicite and National Theatre co-production in association with HOME Manchester rejoices in a much stronger pedigree.
New drama about a desperate single mother is powerfully written and raises some disturbing issues.