The biggest pleasure in Glenn Chandler and Charles Miller’s new musical, inspired by the hedonistic history of the Vauxhall Pleasure Gardens, is the beautiful set and video projections.
This play won’t give you sleepless nights. It does give you rich historical detail. I imagine anyone who enjoys ghost stories went rushing home to Google Guernsey’s dark history.
Mental illness is no fun. The portents aren’t good in A Rat, A Rat, yet this lively short play by Chloe Yates finds humour and possibility in every exchange.
At a time when headlines reduce the debate around racism to good or bad, black or white, Drip Drip Drip is a masterly exercise in exploring the grey… It’s theatre at its best.
Netflix & Chill bristles with promise from the off. Ben’s a working-class boy who’s been to university and is saving for a masters by working as a chef in the local pub. He’s gentle, he’s kind, and he’s making the best of a bad hand.
Strangely wonderful and wonderfully strange. That’s the only way to sum up People Show 137. Basically, two old blokes, aided and abetted by some other old blokes, a chanteuse puppet, and the legs of three can-can dancers, are in a French café where the single croissant has been dusted, ready for sale.
Over the years, I have come to the conclusion that the litmus test of a good Christmas show is not whether the grown-ups are enjoying the writing or the acting or the storyline, but how the children are responding.
After a cinematic start with the characters caught in spotlights mid-activity, we tumble into The House of the Spirits with a series of brutal scenes – rape, bullying, exploitation, pain.
Michael Morpurgo’s story, The Mozart Question, is essentially about the solace and joy great music gifts us. For Paola’s parents, however, beautiful music presages pain and shame and guilt.