This latest star-studded digital offering from Henry Filloux-Bennett and the Lawrence Batley Theatre is a pleasing comedy about the tribulations of putting on a post-pandemic production.
Life on the lowest rung of the theatrical ladder. There are lots of in-jokes with digs at actors, directors, the rehearsal process, theatrical agents, critics and the site-specific trend.
A brand-new radio play of David Nicholls’ hit 2005 comic novel The Understudy will be performed by a stellar cast including Stephen Fry and released next month to raise funds for the theatre industry which is facing a devastating impact from the Covid-19 health crisis.
With a heart of gold reminder about professionalism in the arts, Noises Off is a must see production which will surely continue to have audiences gasping for air and slapping their thighs.
Find out what the critics made of Daniel Aukin’s production of Admissions at the Trafalgar Studios.
Joshua Harmon doesn’t beat about the bush when tackling difficult questions about diversity and equality in Admissions, a biting new comedy that couldn’t be more relevant, especially to parents.
I’m genuinely not sure Admissions could be done much better than it’s done here. If you come expecting an entertaining comedy that will make you occasionally go ‘oh actually that’s a good point’ you won’t leave disappointed.
Dance Nation at the Almeida Theatre is a pretty damn fine piece of writing by US playwright Clare Barron, and a damn fine piece of theatre directed by Bijan Sheibani.
It’s the banter that makes it in Clare Barron’s spirited play about a children’s dance troupe in a fierce American competition, directed by Bijan Sheibani.
With plenty of influences from across film, there’s still a lot to take from Clare Barron’s play, and as annual dance fever arrives in the UK once again and mingles with a year of female-led stories, Dance Nation is timely if not quite a ten from Len.
The Almeida Theatre has announced the full cast for the UK premiere of Clare Barron’s new play Dance Nation, directed by Bijan Sheibani (running from 27 August to 6 October, with a press night on 4 September).
This is a stylish, yet thoroughly accessible, production that is full of energy and a joyous satirical thrust that never obscures the real human emotions at the story’s core. Let’s hope that this production is the first of many Restoration revivals.
The Donmar’s new version of William Congreve’s play has plenty of musings on marriage and the role of women which still feel extremely pertinent; it just needs to even out the tone to make this restoration comedy really fizz.
Haydn Gwynne will be playing the role of Lady Wishfort at the Donmar Warehouse in James Macdonald’s new revival of William Congreve’s Restoration comedy The Way of The World, replacing Linda Bassett who has had to withdraw from the production.
The second of a brace of plays running in rep at the Southwark Playhouse, Russian writing star, Mikhai Durnenkov’s The War Has Not Yet Started – featuring Mark Quartley, Sarah Hadland and Hannah Britland – is quirky and unsettling.
Seeing the plays from different perspectives felt appropriate as that is the nature of Ayckbourn’s trilogy written in 1973. Three times we visit the same group of six characters over the same weekend but based in a different part of the house.
Sometimes a character exits to join another play, or comes in from a scene you will only see in the next show. The final part begins half an hour before the first and ends after them all, providing prequel and sequel by half an hour.
I want to be able to resist anything to do with Alan Ayckbourn but the cast and creatives for Chichester’s production of The Norman Conquests is making it very hard indeed. Wunderkind director Blanche McIntyre is at the helm of a company for the trilogy of plays.
Its rather lazy, and stereotypical, approach to laughing at the gays aside, there’s a quite a lot to enjoy here in the Birmingham REP’s production of the award-winning French play What’s In A Name?.
What’s In A Name resembles a snapshot into every day family life. The witty, observational script combined with a cast who are all at the top of their game ensures that this production wouldn’t look out of place in the West End.
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