Mood Music is a timely piece of writing highlighting, as it does, questions of creativity, control, ownership, capitalism and personal well-being.
Like the virus, Spymonkey’s brand of comedy in shows like Oedipussy has proved highly infectious over the last couple of months but at the same time it has also become a regular weekly vaccine against the blues.
This was the production of Lungs live streamed from the actual stage of the Old Vic with real actors in real time as part of its In Camera project.
Theatre photography is one of the most important ways to promote a new production and simultaneously one of the elements audiences – and probably most creatives – actively think least about.
In the treasure hunt for the most magical theatres in the country, Amber Massie-Blomfield provides a compilation of bite-sized chunks of captivating theatrical history…
‘There is no doubt that this is the first of many events from the Burn Bright family. A family that has staked it very existence on the fact that we need a seismic shift in the way we create, present and support theatre.’
After the 75th anniversary weekend of VE Day, the musical Only The Brave drew my attention as a perfect way to spend an afternoon.
I’ve always found Antony and Cleopatra a bit of a slog. There, I’ve said it. Too many scenes which flit about all over the place, too many minor inconsequential characters, deaths which seem interminable.
A life distilled to its essentials: 30 Million Minutes indicates the rough length of time that Dawn French had been alive at the time of her solo show recorded in its final incarnation in 2016.
This is the theatre at its very best and on screen, both productions are gripping, using the camera work to richly convey the abstract shapes and grand vision of its boldly beautiful staging, while allowing the connection between the lead actors to shine.
Last week was Shakespeare’s birthday, so The Show Must Go Online went all out with their latest production, holding a Titus Andronicus party in the Bard’s honour.
The problem with staging a classic novel is that everyone has a slightly different view of how it should be done – many have tried and few have fully succeeded.
The first show in the National Theatre at Home programme was the 2011 smash-hit One Man, Two Guvnors, one of the great success stories of the Nicholas Hytner era, a cheeky farce written by Richard Bean and starring National Theatre favourites James Corden and Oliver Chris.
Between Ben Yeoh and David Finnegan, there’s an impressive array of interests, knowledge and skills. Theatre, economics and climate change are among them.
Kieran Hurley explores free speech and the nature of online debate in Bubble.
“Purposeful and heart wrenching,” “emotionally charged,” “food for the soul” – audiences at VAULT Festival have been quick to praise Karen Bartholomew’s drama about the realities of adoption reunion, Giving Up Marty. Take a look at what they’re saying then book your tickets!
What makes Not Quite Jerusalem such a vivid and enjoyable play, is the nuanced and recognisable characters – backed here by exemplary performances from a talented cast.
Visit Bethlehem is a short, sharp, site-specific show which imaginatively blends fun into a personal tale about the brutal reality of living under military occupation.
As a child of an immigrant mother, the double-bill is Lòng Mẹ like a beloved jumper that’s scratchy but warm, you embrace the small pains because the comfort and love is so much stronger.
Writer Gillian Greer confidently addresses nuances and problems around sex and consent in Meat at Theatre 503 and director Lucy Jane Atkinson ensures tensions consistently run high.