Relatively obscure British crime writer Ethel Lina White’s greatest legacy is her 1936 novel, The Wheel Spins – two years after publication, Alfred Hitchcock directed the film The Lady Vanishes, widely regarded as one of British cinema’s greatest works, based on her book.
Tom Lenk is Trash is trash. That’s not even a cruel review, it’s literally what he told me to say. And after seeing the show, I am not going to be so stupid as to say anything he doesn’t want me to.
Our Walk Through the World is a collection of six sharply written, short plays by Ross Howard that highlight some of the absurdities of modern life.
Mary Jane Figtree’s play is based on the concept of an Italian 90s play called Orgasmo e Pregiudizio. With this, her first play, she has written something that succeeds in being both funny yet emotionally resonant.
The Geminus is an atmospheric new play by Ross Dinwiddy and is based on Joseph Conrad’s novella The Secret Sharer. By incorporating a romantic twist, Dinwiddy creates an emotional centre to the piece, which is so important when translating prose to the stage.
Brighton Fringe hit The Geminus has sailed the high seas from the south coast to London for the Camden Fringe, and they have the wind in their sales with some fantastic reviews. Take a look at what’s been said, and at the new production images from its London run, then book your tickets!
The Paines Plough Roundabout is the most reliable, new writing venues at the fringe. With a collection of work that represents the width and breadth of the UK both geographically and thematically, this year’s offerings are universally strong.
At last, someone has laid the sugary ghost of Elaine Paige. Jamie Lloyd’s stripped-back Evita at the Open Air Theatre in Regent’s Park has all the metallic modernity of their Jesus Christ Superstar.
One test of biography jukebox musicals is how much an uninitiated audience member ends up learning about the artist through the course of the show.
Just as much as the emotional impact, though, it’s the unique and original approach to the subject matter that makes this debut production from Turn Point Theatre particularly memorable.
One thing I’m really loving about the Camden Fringe is the breadth of creativity and experimentation. Scenic Reality is a prime example of a fresh piece of new writing that explores different storytelling techniques.
Guided by a web app, participants have 80 minutes to earn as much money as possible by answering cryptic puzzles. They must choose what equipment to spend their cash on before returning to the meeting place.
With plenty to say about the shallow foundations of political leaders hiding behind their PR machines, Jamie Lloyd’s triumphant Evita is raw, fresh and intense – “oh what a show!”
suspect this show will have a future, evolving life, and it is well worth checking out if it appears on your radar. I’d certainly be interested in seeing what they do with it next.
If a student disco is your personal nightmare, look away now. Tree starts and ends with a throbbing onstage party to wish the audience is persuasively invited. The last time this many Waitrose customers grooved awkwardly to African beats was on Paul Simon’s Graceland tour.
This year I have the great privilege of getting to cover lots of the Camden Fringe shows, my only regret is that I can’t see them all (literally impossible, so many shows running, Londoners check it out, it is a treasure trove of varied goodies).
One Giant Leap is a very silly story with no other mission in mind but providing two hours of pure entertainment.
Noël Coward would have thoroughly approved of Andrew Scott’s gloriously outrageous turn as ageing matinée idol, Garry Essendine, in The Old Vic’s reinvention of Present Laughter.
“Sharply observed”, “electric”, and “brilliant drama” – Take a look at what Twitter users are saying about the Andrew Lloyd Webber Foundation Bridge Company’s productions of The Sandman and What Was Left, then book your tickets for the final performances!
Exchange Theatre returns with its production of Jean-Paul Sartre’s The Flies, running alternately in French and English at The Bunker Theatre for a limited time.