Written and conceived by Peter Polycarpou, Falling Stars is a charming and fascinating exploration of composers, collaborators and publishers of the 1920s.
This episode of was recorded in January 2020 – before Covid-19 changed everything. Host Andrew Keates shares an explanation about where The Show People Podcast has been for most of 2020 and celebrates the podcast’s fourth anniversary.
We round up the reviews for the world premiere production of A Very Expensive Poison, Lucy Prebble’s reimagining of Luke Harding’s exposé of the events behind the notorious death of ex-FSB Officer Alexander Litvinenko.
Lucy Prebble’s latest tells the story of the murder of Alexander Litvinenko in A Very Expensive Poison, but prefers buffoonery over analysis.
Marina Litvinenko’s final address in A Very Expensive Poison, reminding us of our political cowardice and idly greedy tolerance of crooked Russian money in our capital city, will bring theatres to their feet in admiration for her and shame at our shabbiness. It needed telling.
Man of La Mancha is a curious beast. Often dubbed as one of the classic “lost” musicals, it was last seen in the West End in the 1960s but is currently being revived at the London Coliseum.
Despite the best efforts of Kelsey Grammer in the lead role, this leaden and often down right confusing revival of Man of La Mancha at the London Coliseum is unlikely to give the show new impetus on this side of the pond.
It has been 50 years since Man Of La Mancha last played in London’s West End and based upon this year’s offering from the ENO and co-producers Grade-Linnitt it is easy to see why.
One wonders which came first for the Grade/Linnit company – the misguided desire to mount an epic scale production of Man of La Mancha, a musical which hasn’t been.produced in London since 1968 for very good reasons, or the need to find a project for Kelsey Grammer?
Renowned stage, film and TV performer Peter Polycarpou will play Don Quixote’s squire, Sancho Panza in Man of the Mancha at the London Coliseum; the first West End production of this multi-Tony Award-winning Broadway musical for 50 years.
The fourth instalment in Jamie Lloyd’s consistently enjoyable season of Harold Pinter’s short plays contrasts plays from either end of the writer’s career.
Pinter Four serves up something of a difficult double bill at the Harold Pinter Theatre, but Bríd Brennan and Janie Dee are there to help us through the dark times.
Like ripping off a dramatic plaster, now that I’ve done one show’s worth of Harold Pinter it’s time to plunge headfirst into another. Pinter Three down, Pinter Four to go.
The esteemed company of Pinter at the Pinter is joined by Bríd Brennan, Janie Dee, Tom Edden, Abbie Finn, Robert Glenister, Isis Hainsworth, John Heffernan, Katherine Kingsley, Eleanor Matsuura, Peter Polycarpou, Dwane Walcott and Al Weaver.
A trio of West End cast recordings (well, one’s off-West-End…) show that it is sometimes hard to recapture the stage magic.
Award-heavy American play about the Oslo Accords is informative, moving and highly entertaining.
As any story going behind-the-scenes of history, Oslo gives audiences a thrilling and enthralling sense of being, for once, on the ‘inside’ of events. And Rogers keeps personalities and the narrative rattling along.
This is a three-hour historical political play about Middle East negotiations in the 1990s: and it is absolutely thrilling.
Oslo, a new play from JT Rogers is evidently meticulously researched. It is a tale of diplomacy and negotiation, and as a history lesson, it offers moments that are fascinating.
As rehearsals continue for the UK premiere of Tony Award-winning play OSLO, here’s a glimpse of Toby Stephens, Lydia Leonard, Peter Polycarpou and the cast in the rehearsal room.
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