Blitz! encapsulates all the emotions across the board with enthusiasm exuding from all the cast keen to make you connect with all their individual stories.
The Phil Willmott Company’s Essential Classics Season 2020, celebrating the 75th anniversary of V.E. Day, opens with a stirring adaptation of Tom Brown’s School Days.
What the hell more do you want of a night out over a pub? Hurry to After Dark at the Finborough Theatre. It’ll take your mind off Boris…
Closing Phil Willmott’s ‘Enemies of the People’ 2019 Essential Classics season is Shakespeare’s classic Othello, marking the centenary of the Jallianwala Bagh massacre, with events set in the British Raj.
Continuing Phil Willmott’s ‘Enemies of the People’ Essential Classics season for 2019 is a new musical, Can-Can!, following on from Arthur Miller’s An Enemy of the People.
Courtesy of choreographer Adam Haigh, there is some seriously impressive dance going on at the Union Theatre right now. You might expect some good moves from a musical Can-Can! but the full company sequences that book-end the show are full of verve and vitality and some jaw-dropping moments, which are all the more impressive for taking place on a stage as intimate as this.
Opening up Phil Willmott’s ‘Enemies of the People’ Essential Classics season for 2019 is a new production of Arthur Miller’s An Enemy of the People, which is itself adapted from a play of the same name by Henrik Ibsen. The play has a limited run at the Union Theatre, prior to Offenbach’s Can-Can! and Shakespeare’s Othello, as part of the same season.
Arthur Miller’s adaptation of Henrik Ibsen’s An Enemy of the People could have easily been adapted in the last couple of years as a, not at all subtle rebuke to the election of Donald Trump and Flint water scandal. Worryingly Miller’s adaptation was written in the 1950s and Ibsen’s original in 1882. Has nothing really changed?
This production of the sharply relevant play An Enemy of the People at the Union Theatre features numerous dynamic performances, ensuring the audience’s attention is never lost.
Meanness and greenness have often gone hand in hand at Regent’s Park – £3.50 for a tiny ice cream cone, really? – but never more so than in Maria Aberg’s confident production of Little Shop of Horrors at the Open Air Theatre.
After a successful production last year with Arthur Miller’s Incident At Vichy, director Phil Willmott returns with another one of Miller’s plays – this time one of his lesser-known works. Paradoxically, it is of more possible interest than the rest of his canon…
Phil Willmott’s production of Carmen 1808, based on Bizet’s beloved opera, has plenty of passion and Spanish flair to make for a highly engaging experience.
In the right hands (and voices) opera’s classics can work spectacularly on the Fringe, but all too often in Carmen 1808 one is left with the distinct feeling that Phil Willmott has done to Bizet’s melodies what Napoleon’s riflemen did to the helpless Spanish.
George Bernard Shaw’s Heartbreak House, stylistically inspired by Anton Chekhov, was first performed in 1920. Set on the brink of the First World War, its message about the very real danger of political indifference chimes with today’s audience.
The Phil Willmott Company returns to the Union Theatre in the new year with its third annual season. The focus of 2018’s Essential Classics programme is on “great playwrights and composers of the past who have reflected on issues we face today”.
After a critically acclaimed, sell-out run at the Finborough Theatre, Phil Willmott’s new production of Arthur Miller’s 1964 play Incident at Vichy transfers to the King’s Head Theatre. It will have a limited run from 7 to 25 June 2017, with a press night on 9 June.
Arthur Miller’s ‘forgotten’ play is timely revived by Phil Willmott. Set in a detention room in 1942 Miller’s 1964 play is the story of hope, rumour and sheer disbelief that anyone can be a victim because of their race.
Anyone Can Whistle: the Sondheim flop whose signal moment in the original 1964 production was when a dancer fell into the orchestra pit, inadvertently killing a musician.
“Laugh at the king or he’ll make you cry”The ever-modest Sondheim considers Anyone Can Whistle ‘a laudable attempt to present something off-centre in mainstream musical theatre’, whilst trying to contextualise his first ever commercial failure. But be …
A rare revival of Stephen Sondheim and Arthur Laurent’s musical satire ANYONE CAN WHISTLE will follow Tracy Letts’ adaptation of Chekhov’s Three Sisters as part of The Phil Willmott Company’s new season at London’s Union Theatre.