This Olivier Award-winning adaptation of Mark Haddon’s novel is getting a deserved revival in London before embarking on a UK tour.
Although a rather more muted celebration than originally planned, The New Tomorrow is a powerful acknowledgment of the theatre’s ongoing mission to be a real centre for the community.
The series of monologues under the collective title The Greatest Wealth was first performed at The Old Vic Theatre in 2018 as part of the celebrations for the 70th anniversary of the founding of the NHS.
It’s a rare moment of beautiful subtlety in a play that is more often considerably bolder in its sentiment, but it’s also a mark of just how nuanced Nicole Charles’ production and Morgan Lloyd Malcolm’s writing is.
Further casting has been announced for Emilia, written by Morgan Lloyd Malcolm and directed by Nicole Charles at the Vaudeville Theatre from 8 March to 15 June 2019, following its run at Shakespeare’s Globe in 2018.
Following its sell-out run at Shakespeare’s Globe, Morgan Lloyd Malcolm’s new play Emilia, directed by Nicole Charles, will transfer to the Vaudeville Theatre for a strictly limited season from 8 March to 15 June 2019.
Kaite O’Reilly’s And Suddenly I Disappear – The Singapore/UK ‘d’ Monologues (the first multilingual, intercultural, deaf and disability-led theatre project created between the UK and Singapore) played the Southbank Centre as part of its Unlimited Festival.
Paying tribute to the NHS in its 70th year, the specially-commissioned monologues of The Greatest Wealth made for a great night at the Old Vic.
The Old Vic has announced casting for The Greatest Wealth, curated by Lolita Chakrabarti and directed by Adrian Lester to celebrate 70 years of the National Health Service.
A brilliantly inventive, inclusive and entertaining take on A Midsummer Night’s Dream is a great success at the Watermill Theatre. Newbury.
The purpose of my visit was very specific to the Watermill Theatre. The forthcoming production of A Midsummer Night’s Dream directed by Paul Hart, and building on the success of last year’s Twelfth Night, is to have integrated signing at some performances.
The best that can be said about Chris Goode’s Jubilee is that it must surely be in the running for the hotly contested accolade of the worst show of the whole decade.
Unmoving revival of Simon Stephens’ teen-bully play sacrifices emotional truth to trendy directorial gimmicks.