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.
“I left feeling elated” and “I can’t remember when I last laughed so much” are just a couple of the glowing audience responses to hit cabaret about lady parts, Laura-Doe’s Vaudeville of the Vulva. Take a look at the glowing feedback from fans of the show, then rush to book your tickets.
“Dance for me, Salome, I beseech you.” The final production in this year’s Lazarus Theatre Company residency at Greenwich Theatre (following on from The Tempest and Lord of the Flies) is a new version of Oscar Wilde’s Salomé.
Tim Firth’s charming and warm-hearted musical This Is My Family has opened Festival 2019 at Chichester Festival Theatre and it’s impossible not to leave the show with a cheesy grin on your face.
they have made a noticeable effort to share the experiences of many, to both hilarious and humbling effect in word, movement and dance.
Back in 1982 Helen Gurley Brown, then editor of US Cosmopolitan, informed the world that women could “have it all”. As if, in an act of defiance, in the same year, writer Caryl Churchill replied with Top Girls, a quirky and off-beat play that shows the price women must pay in trying to combine being […]
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The London Fringe has been diligent in ploughing back catalogue after back catalogue for ‘forgotten’ musicals, and Maggie May has not been seen in London for 55 years.
Mark Benton gives a compelling turn as a desperate salesman on the edge in Sam Yates’ revival of David Mamet’s riveting, prize-winning play, Glengarry Glen Ross, now touring.
Clever: There’s plenty of life and bundles of irony in the latest production of Marie Jones’ magnificent two-hander, Stones In His Pockets, now on a major UK tour.
Grief on stage and in popular culture is rarely considered as a psychological state of its own but as a means or driver for other behaviour.
Lionel Bart and Alun Owen’s musical Maggie May first opened in London 55 years ago, when it made its debut at the Adelphi Theatre in September 1964 – despite its success it hasn’t been seen since.
This charming kaleidoscope takes the model invented by Craig Taylor in his landmark play One Million Tiny Plays About Britain to present a few dozens vignettes about daily life in Reading.
Every time I see a new musical made from a recent-ish film, I wonder if this could be ‘the one’, the one that jumps the shark and enters the canon of the regularly performed.
Andy Nyman does sterling work to bring Tevye off the page, breaking the fourth wall to chat with the Almighty, and rubbing his arthritic joints to punctuate Sheldon Harnick’s lazy ‘deidle deidle deidle dumb’ lyrics in ‘If I Were A Rich Man’.
Funny, heartwarming, fascinating, tragic and devastating, Fiddler on the Roof is an unusual but hugely powerful musical, and this production brings out the very best in it.
Queen C*nt: Sacred or Profane? It’s a great, intriguing title, and the strapline promises even more: to let us watch Deborah Ward and China Blue Fish leave their husbands, practice witchcraft, and destroy capitalism.
Look, as a piece of drama Alys, Always isn’t the best thing you’ll ever see. It’s unlikely to be troubling the Olivier nominations next year I wouldn’t think. But, actually, I sort of don’t care. It’s really good fun; sheer entertainment with a little bit of something to mentally chew over after the show.