Love London Love Culture rounds up the reviews for one of the most highly anticipated musicals of the year, Moulin Rouge! on Broadway.
Love London Love Culture’s Emma Clarendon picks out some of the shows on Broadway she wants most to see…
David Suchet is majestically magnificent in this excellent revival of Arthur Miller’s 1968 family drama The Price.
It’s the hottest day of the year when this podcast is recorded – and we’ve got a leading man to match! Actor Alistair Brammer joins host and director Andrew Keates for this episode of the Show People Podcast, after playing Chris in both the Broadway and West End productions of Miss Saigon.
Patch of Blue, the company responsible for We Live By the Sea, specialises in devised theatre that expands the conventional scope of audiences and here they share the life of a 15-year-old woman on the autistic spectrum.
New York’s Lincoln Center invited UK-based Oily Cart to be one of three theatres from outside the US to perform at the Big Umbrella Festival, the first of its kind dedicated to such audiences.
American dramaphiles tend to view Britain as a hotbed of hyper-verbal and hyper-intellectual plays, especially in comparison to our home-bred musicals that often lack the same resonant depth.
Much of my ‘touring’ has been concentrated in Bristol and Chichester; there are a few other UK venues to add to the list, as well as some from my week in New York, of course.
A second, transatlantic viewing proves just how thoroughly the production theatricalises addicts’ experiences in order to generate audience empathy with the struggle to overcome addiction.
Christmas is approaching so spirits are high but as the days get colder we and darker we tend to crave the optimistic escape that theatre provides. Ordinary Days is just what we need – realistic, heartfelt and warm.
There is the glorious Deb. A semi-neurotic slice of contemporary crisis. Nora Perone completely nails the role with her excellent vocals and comic timing.
Anne-Marie Duff and Kenneth Cranham try their best in unconvincing rom-com, which is predictable and portentous.
I’ve seen sexist theatre. I’ve seen ableist theatre. But it’s rare to come across a show that is so openly and unashamedly both of these things.
Award-heavy American play about the Oslo Accords is informative, moving and highly entertaining.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
This play’s subject is alienation, at work and in the home. (But mainly at work.) In contemporary society, office work seems to symbolize a life of modern drudgery.
This is phenomenal. And pretty wild. Branden Jacobs-Jenkins’s An Octoroon is the most intelligent and most theatre-savvy play on today’s London stage: it is a satire on staging race, an account of black identity, a criticism of plantation life, a celebration of genre fun and a tribute to a forgotten work from the Victorian era.
The Treatment has often been ignored, perhaps on account of its large cast, or because of its large scale. Now that the Almeida Theatre has decided to stage this story of how art cannibalises life we have the chance to judge its relevance some 25 years after its premiere.
An existentialist who writes in the film noir/crime thriller genre, a compulsive writer for whom language and its derivations are a vital, never ceasing line of enquiry as a construct that goes towards making up the human condition, are just, as I take it, some of his other ongoing concerns.
City of Glass, the first part of Auster’s New York Trilogy, was first published in 1985. It’s an enjoyably tricksy, postmodern novel in which Daniel Quinn, a detective-story writer, becomes a freelance investigator after answering a mysterious telephone call.
- Page 1 of 2