We round up the reviews for the European premiere of Paula Vogel’s play now playing at the Menier Chocolate Factory.
Rather than return cautiously with a safe old feelgood favourite the Menier’s artistic director David Babani has taken – deep breath – a new American-Jewish Broadway play about a 1923 scandal about a lesbian play in Yiddish from 1907, and its 1940s aftermath in a doomed attic in the Lodz ghetto
This may be a sweeping statement, but if you’re not profoundly affected by Indecent, Paula Vogel’s provocatively titled powder keg of a play, as staged here in Rebecca Taichman’s Tony Award-winning production, then can you really call yourself a theatrelover?
The week began with Andrew Lloyd Webber being mentioned by Boris Johnson, as he extended the lockdown from the originally hoped-for ‘Freedom Day’ of 21 June to 19 July, at which point theatres may be able to reopen without social distancing in place;
Falling Stars, a loving musical tribute to the great songwriters of the first three decades of the 20th century, is now streaming for a second time on stream.theatre.
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.
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