Delayed two years by the pandemic, one of the most hotly anticipated shows of 2020 finally makes it to the stage in 2022. The combination of TV writer and former Dr Who showrunner Steven Moffat, Mark Gatiss and Reece Shearsmith proves irresistible as The Unfriend finally premieres in Chichester’s Minerva Theatre and it has been worth the wait.
Alan Bennett writes that “I’ve always had a soft spot for George III”, for no better reason than that he had studied the monarch’s reign at secondary school and then again at uni.
Despite its absurdist style, Pass Over is a political play whose message is indisputable. The evening is a powerful mixture of male camaraderie, brutality and almost casual defiance.
Jeremy Sams and his creative team have delivered theatrical magic in Oklahoma! at Chichester Festival Theatre.
This year Chichester Festival Theatre is taking on Oklahoma! with their usual mix of respect for the piece and urge to find a new viewpoint on it.
Only on until 4 July before an international tour, The Light In The Piazza is a must see for all who appreciate modern writing and quality musical theatre.
‘A sweet sexy fairy tale’ is how one critic described Sweet Charity on its opening in London in October 1967. And Josie Rourke’s final production as the Donmar’s artistic director before handing over to Michael Longhurst certainly lives up to that description, but also makes it something rather more and darker because of the unlikely casting of Anne-Marie Duff as Charity.
This is as unconventional production of Sweet Charity as you’re likely to see. Set firmly in the art milieu of Andy Warhol’s Factory, it’s so perfectly, silver-foil-wrapped acid-tabbed 1967 it’s like you were actually there.
In eschewing any trendy political statement to hang around his work, Nunn has made it all the more poignant and powerful. Deservedly sold out for the rest of its Menier run, his Fiddler On The Roof is a must-see musical.
As opening statements go, Kwame Kwei-Armah’s musical adaptation of Shakespeare’s Twelfth Night, imported from New York’s Public Theater is probably as joyous a marker of future intent as you could wish for.
Is there such a thing as sheer theatrical joy? Yes, there is, and it comes from an unexpected source: Kwame Kwei-Armah and Shaina Taub’s musical adaptation of Twelfth Night at the Young Vic.
Coyly advertised as Holy Sh!t, actor and writer Alexis Zegerman’s new play is a topical account of the lengths that some parents will go to get their kids into the best local schools.
As Quiz transfers to the West End, James Graham’s insightful reflections on crucial moments in post-war history have fast become a vital resource in understanding who we are.
Andrew Lloyd Webber would have been over the rainbow with the Sydney premiere of The Wizard of Oz. From the moment the stage curtains opened, the audience was captivated.
Modern-dress revival of wordy George Bernard Shaw classic is a tour de force for Gemma Arterton.
Appealing: Cheeky and rollicking, the touring production of The Full Monty also has its share of pathos and politics, and is a satisfying affair.
Get a ticket and go and see The Girls. It is a phenomenal production. A thunderous applause and a well deserved standing ovation greeted the passionate performers and production crew on the press night. Being able to witness everybody around you in the stalls leap to their feet, cheering and clapping is a rare occurrence and a worthy testimony to show how fabulous The Girls really is. Just go.
The Silent film era is the backdrop for a production of a musical that deserves to be shouted about.
Just why Mack & Mabel, running at Edinburgh Playhouse until 21 November, isn’t better known I can’t say. Maybe it’s that it’s never had the big screen treatment awarded to songwriter Jerry Herman’s Hello Dolly, Mame and La Cage Aux Folles.
If people remember anything about it, it’s generally that Torvill and Dean choreographed an award-winning routine to the overture.
For those that haven’t seen the 1997 film, this is set in 1980’s Sheffield, the home of steel and hit by Thatcher’s governmental reform leaving desperation, depravity and heartache in its wake. How is it that a play telling a story such as this can be one of immense fun and heartwarming as well?
This harrowing story written by Frank McGuinness tells the tale of three men taken hostage in the Lebanon. Someone Who’ll Watch Over Me first premiered in 1992 and took the theatre world by storm. Inspired by the hostage situations in the late 1980’s particularly those of Brian Keenan and John McCarthy the captives in the story are all invented by McGuinness. Michael Attenborough expertly directs this strong, often hard to watch, powerful play. Set in a cell in Beirut it tells of how these hostages get through this ordeal. Designed by Robert Jones the set is extremely creative giving you the claustrophobic feeling although sat in the open space of the auditorium. A single square with thin mats to sleep on, chained by their feet. Overhead we see pipes all seemingly filthy dirty and just a Koran and Bible to keep them company with no external contact to the outside world.
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