Oscar nominated and Golden Globe winning actress Anne Archer will return to the UK to star as ‘Jane Fonda’ in a brand new production of THE TRIAL OF JANE FONDA, written by seven-time Emmy award-winner Terry Jastrow, and directed by Joe Harmston, opening at London’s Park Theatre on 13 July until 20 August 2016, with a press night on 14 July.
The producers of The Buskers Opera, a brand new musical by Dougal Irvine (Departure Lounge, Laila, Britain’s Got Bhangra) and Park Theatre are today announcing the first-ever ‘relaxed’ performance at Park Theatre, to take place on Thursday 2 June 2016. The Producers of the show have launched a unique crowdfunding scheme in order help deliver this relaxed performance alongside their Arts …
In case you didn’t attend and/or missed the viral buzz – incredibly, this industry event was one of the UK’s top trending events on Twitter for nearly 48 hours – Beam was a two-day event, jointly organised by Mercury Musicals Development and Musical Theatre Network on Tuesday 8 and Wednesday 9 May at London’s Park Theatre, under the slogan “shining a light on new British musical theatre”. And it more than delivered on the promise of that slogan.
The book Don’t Sleep, There Are Snakes, sub-titled “Life and Language in the Amazonian Jungle” was published in 2009. It tells the story of missionary Daniel Everett’s experience living with the Amazonian tribe, the Pirahãs. But rather than Everett converting the tribespeople, they converted him. Actor and director Sebastian Armesto, founding member of Simple8, explains why the company was inspired to adapt …
This world premiere production starring Laurence Fox and Tom Conti is a story of two men who are like father and son – but on two opposing sides during World War II. The Patriotic Traitor plays at London’s Park Theatre until 19th March 2016.
This premiere for the Park is a cracker: a serious, grownup, constantly entertaining light on history with fine-drawn characters, and some acidly sharp philosophical resonances for today’s troubled Europe and our divided government. Jonathan Lynn wrote and directs: as co-author of the Yes Minister series and the recent (less impressive and even more cynical) stage play we know he has a sharp political eye. But this one is richer and more acutely perceptive than mere satire.
When I was a student, I worked in a care home. Somewhere in a drawer I have a half-written short story about an old lady in a similar institution who remembers, through the fog of Alzheimer’s, two things: the heyday of Hollywood, and that she once “almost died”. Only on the last page does she tell her carer she once also had another name – ‘they called me Marilyn, Marilyn Monroe’. Bite me, it’s no nuttier than the plot of Hallo Norma Jeane.
Direct from her current West End run in Bend It Like Beckham, Lauren Samuel will join Olivier Award winner George Maguire in the cast of the world premiere production of new musical The Busker’s Opera at London’s Park Theatre this April.
I’m well overdue for a theatre diary, aren’t I? So here goes with a quick one on more new plays I’ve seen in recent (and not-so recent) weeks that I’d recommend catching and haven’t yet managed to squeeze in to separate blogs.
New drama about traumatic amnesia is based on a good idea, but is just too bland to stay long in the memory.
In a hospital bed lies Michael: Alistair McGowan, motionless in a coma, we learn, for three weeks. His mother Carol (Maggie Ollerenshaw) holds his hand, has been sleeping in a chair and tending the flowers on his nightstand. Enter – with competing flowers – the third player Paul (Daniel Weyman).
This special annual edition reviews the highs and lows of the 2015 London theatregoing year, including assessments of the programming at flagship institutions and trends in the West End, Off-West End, fringe and beyond.
Tom Conti and Laurence Fox will star in the world premiere production of The Patriotic Traitor, opening at London’s Park Theatre 17 February – 19 March, with a press night on 23 February.
When news of the Park Theatre’s pantomime, Rapunzel, came through earlier this year, I remember clocking the name of the hero character Prince Corbyn – names are never a coincidence when it comes to pantomimes, surely? But had naming considerations also played a part in casting the role? Finding an actor named Alex Hope to […]
I’m a bit late on the curve catching this, but it runs all week with two more matinees, so Roll up! Shudder as you savour the freakish world of celebrity PR agents, tup’n tell journalism, fake reality-shows, slut-shaming, and career dieting . Meet some of the most topically revolting of contemporary male characters: all but one equipped with seriously wrong beards, from the Mark Thompson Bristle to the Russell Brand Silkie. Applaud the author’s creation of four cracking female parts, alongside and agin these monsters.
Richard, one of the central characters in Daniel Dingsdale’s debut play Dark Tourism (like me) has a thing for quotations. The irony is that he’s a peddler of lowest common denominator culture, a “celebrity” PR with a hotline to the tabloids, who once dreamed of high-brow literary success.
It would be easy to dismiss Roaring Trade as ‘Boring Trade’, a 2009 quadrille for four unpleasant people in a dealing room which was stale long before the recession cut the rug from under bond trading.
Analysis of its theatrical failures is more complex: the set has the feel of ‘Enron’ but random scrolling data on a projected Bloomberg screen is neither realistic nor kinetic – post-Curious Incident we expect far more from back projection.
On this week’s bumper podcast, the London theatre bloggers discuss West End musicals Kinky Boots and Dusty, as well as Off-West End plays Hatched ‘n’ Dispatched, The Man Who Had All the Luck and And Then Come the Nightjars.
‘Write what you know’ remains the best advice to any author and the story of how Michael Kirk picked up the plot of Hatched ‘n Dispatched from his 9-year-old observations of sexual shenanigans round the back of the Railway Institute in Derby is priceless. But years of exposure to sitcoms and pantomime mean his script, particularly in the larkier first half, can sound derived: the moment when Wendi Peters as grotesque matriarch Dorothy sends her daughters into the kitchen to cut sandwiches for a funeral with “you slice, I’ll butter” is lifted directly from an early Victoria Wood standup routine.
It is 1959, Arthur is dead and as his family gather for the wake, there are drunken giggles to be had and secrets to be spilled. They don’t write ‘em like this any more and more’s the bloody pity, for in his debut full length play Michael Kirk together with Gemma Page has captured a slice of British social history, hinting at the incisiveness that once hallmarked the BBC’s Play For Today and which latterly Mike Leigh can occasionally capture on screen.