Directed by Lisa Millar and choreographed by Christopher Tendai, Wonderland in Alice is an original adaptation of Lewis Carroll’s tale that explores its themes and tropes through contemporary dance and music, trippy visuals and dynamic stage design.
This vibrant, vicious, violent, and vivacious two-hour adaptation by Scott Graham and Simon Hoggett for Frantic Assembly at the Lyric Hammersmith places Othello in a land of gangs, drugs, and booze.
Suffice to say, this is probably one of the strongest line-ups in the La Clique show over the last few years, and it is thoroughly enjoyable throughout.
There isn’t a linear plot or story in The Language of Kindness, rather it’s in the individual moments between an unwell person and their nurse where this piece has its emotional power.
New London-based physical theatre company Pan!c Drama brings its debut production Dogs on a Highway to Drayton Arms Theatre for two performances only later this week. Be quick to book tickets!
“Uplifting” and “small in stature but big in heart” – see what reviewers have said about Theatrical Niche’s pacey, new version of Chekhov’s Uncle Vanya. Take a look at what they said, then book your tickets.
Take a peek at Theatrical Niche’s new, environmentally engaged version of Chekhov’s Uncle Vanya, which comes to London next week. Explore the gallery, then book your tickets.
How does the working of a beehive related to Chekhov’s masterpiece Uncle Vanya? Venetia Twigg, who adapted the play for Theatrical Niche, gets busy, telling us about it. Read he interview then book your tickets.
What can we expect from Theatrical Niche’s new version of Chekhov’s Uncle Vanya? There may be some clues in these images straight from the rehearsal room. Take a look, then book your tickets.
A new physical theatre adaptation of Anton Chekhov’s Uncle Vanya, which has been touring England and Northern Ireland this autumn, arrives in London for two weeks later this month, playing in both the north and the south of the capital. Book your tickets now.
they have made a noticeable effort to share the experiences of many, to both hilarious and humbling effect in word, movement and dance.
The work of Tmesis has always examined the stuff of life with style, precision, humour and heart, and the company’s latest show Beyond Belief is no exception.
One of Liverpool’s widest-reaching and most creative theatre companies, physical theatre specialists Tmesis, is returning with its latest show Beyond Belief.
Ten years ago, physical theatre performer Tania Coke performed her first solo show at London’s Cockpit Theatre as part of its Theatre in the Pound programme. Now, after eight years abroad, she returns with her Tokyo-based physical theatre company tarinainanika, and the Camden Fringe debut of their mesmerising show Tokyo Fugue, which runs 23 to 26 August 2018. Watch the hypnotic trailer and gen up below – and then get booking!
The poetic, comical and sometimes unsettling Tokyo Fugue makes its Camden Fringe debut 23 to 26 August 2018 at the Cockpit Theatre. Take a look at these mesmerising production photos and brand new digital art trailer – and then book those tickets!
Tokyo-based physical theatre company tarinainanika are preparing for their Camden Fringe debut of Tokyo Fugue, a mesmerising piece of physical theatre about feeling lost, set in the maze-like train system of Tokyo. We spoke to artistic director Tania Coke about the dangers of drowning out the voices of our bodies and how corporeal mime can help – plus Japan vs England, escaping management consultancy and returning to where it all started, the Cockpit theatre!
This intimate, personal production from Theatre Ad Infinitum is an accurate and emotionally charged snapshot of the pervasive conflict between capitalism and the desire for a family.
This lively revival of Steven Berkoff’s 1975 modern classic is energetically sweaty, if a bit messy as well.
It doesn’t need to be as long as it is, but The Tin Drum is a lot of fun and a dark, prescient reminder that fascism lurks around the corner of Christmas this year.
The Tradition versus Progress conflict sits along side the moral question of whether or not we should be perpetuating these attitudes in young children – who don’t know enough to see these problems – by continuing to tell these stories.