Designing an immersive experience for an audience as obsessive as Doctor Who fans would seem almost completely impossible.
F Scott Fitzgerald’s The Great Gatsby was first published nearly 100 years ago yet it still continues to inspire modern adaptations and interpretations.
Theatrical spinoffs from popular movies are usually ill-conceived and redundant; a double whammy from which you’re less likely to come back than Chrissie Watkins after a swim off the beaches of Amity Island.
I’m a huge fan of Back to the Future. I saw it for the first time in January 1986 and maybe a hundred times since.
James Graham finds an analogue for today’s culture war in 1968 USA care of Gore Vidal and William F Buckley.
Theatre, still recovering from economic and talent loss, following Covid-19 is understandably taking a safe approach to productions.
Business and boxing collide in this revival of Yasir Senna’s play by Razor Sharp Productions. Alisha Harper-Gill is on the ropes, fighting for her career.
The first thing you’ll notice when you enter the auditorium is the incredible set design which brings you right into Beverley and Laurence Moss’s decadent lounge.
You gather in an unassuming office reception to start – looking much like any of the thousands of office receptions in the surrounding part of the city.
A young woman listens to pop music on headphones. The people around her can’t hear it. We, the audience, can – a bit. But it’s a solitary experience; unshared. Something universal is also isolating.
I like Six because it is short, the costumes look amazing, it focuses on female talent from the six leading queens to the backing band and it has a range of songs and talent rarely seen in many musicals.
Fans will no doubt revel in recognition of their favourite songs during this rock opera based upon the epic power ballads of Meatloaf and Jim Steinman.
Lucy Bailey’s site-specific production of Agatha Christie’s courtroom drama has returned to London County Hall, after a lengthy, if unplanned adjournment, and remains one of the most effective theatrical settings in London.
In this one-woman show, writer and performer Beth Burrows fascinates her audience even as she exposes some of the flaws of her famous male subjects: Fred Astaire, Gene Kelly and Frank Sinatra.
God, teenagers. Don’t you just want to shake them sometimes? Scream at them that their lives are a marathon, not a sprint.
The intimate and interactive nature of the setting meant that we, the audience, were completely immersed in the performance of The Scottish Play.
In Alyssa: Memoirs of a Queen, primped, preened and double vaxxed, Alyssa not so much dominates the stage as blows it up entirely.
Jack Holden’s Cruise is a timely look at LGBT history, for fans of Russell T Davies’ It’s a Sin it touches on similar themes of 80s London in the shadow of the HIV/AIDS pandemic. It is a celebration of the culture, the music, the sex and people who were loved and lost.
With no audience to see for themselves, how do you believe in the magic? I was intrigued then to find out more about The Secret Connection who recently started doing online magic shows.
Testament places some of the Bible’s most interesting bit part players in a modern setting and gives them centre stage.