Big, the film, holds a special place in everyone’s hearts but this musical version is out of step and time.
Ross McGregor, artistic director and powerhouse behind Arrows & Traps Theatre Company, has captured the zeitgeist with his modern, political adaptation of Robert Louis Stevenson’s The Strange Case of Jekyll & Hyde.
Chichester Festival Theatre’s production of Shakespeare’s famous tragedy Macbeth, led by John Simm and Dervla Kirwan as the corrupted couple, marks a homecoming for director Paul Miller.
The Weatherman, Eugene O’Hare’s full-length debut play opens with brief sunny spells but it’s clear that the forecast is for a stormy and changeable production.
There are probably not many people left alive who remember the controversial coast to coast US tour of Othello from 1944. It was remarkable for two reasons. Singer and political firebrand, Paul ‘Ol’ Man River’ Robeson was playing the lead and, as a black man, he was sharing the stage with a white, Desdemona.
While it would probably go down well at, say the Edinburgh Fringe, The Actor’s Nightmare’s maverick style and piecemeal production, not to mention a reliance on a clued-up audience, makes it a bit rough and ready for the London mainstream stage.
The Night of the Iguana takes three hours to tell a fairly simple story which could be done in 30 minutes, but it is worth the price of a ticket simply to watch Lia Williams deliver an outstanding performance as one of Tennessee Williams’ great, but unsung, female characters.
Peter Shaffer’s shocking, disturbing and provocative thriller Equus has galloped back into the West End this week with an electrifying revival from Ned Bennett.
The stage adaptation of Captain Corelli’s Mandolin, Louis De Bernières’ award-winning book about love in the war-torn Island of Cephalonia, has come to London’s West End after a successful regional tour.
Gregory Doran’s timely and riveting adaptation of Measure for Measure is filled with laugh-out-loud humour, but there is also a bleaker side to it that makes it very much a play for today.
The ‘technical difficulties’ that unexpectedly halted the opening night of Noises Off at the Lyric Hammersmith brought the house down. They couldn’t have been funnier than if they’d been planned.
Noël Coward would have thoroughly approved of Andrew Scott’s gloriously outrageous turn as ageing matinée idol, Garry Essendine, in The Old Vic’s reinvention of Present Laughter.
Ultimately, all eyes are on Rachael Stirling in Plenty and she stylishly carries this story of disillusionment to its inevitable, if uncertain, conclusion.
Strictly ’s meanest judge, Craig Revel Horwood, sashays into Milton Keynes Theatre next month with a perfect score of terrific reviews for his performance as the gin-sozzled, tyrannical Miss Hannigan in the smash-hit revival of the endearing Annie The Musical.
Beneath the Blue Rinse, running at London’s Park Theatre – along with a Glover short called The Answer – is a morality tale where the elderly get their own back on a society that would rather forget they existed.
Githa Sowerby used her own upbringing as the daughter of a Tyneside glass-making family for her breakthrough play, Rutherford and Son, but whether her father was as cold, insensitive and bullying as patriarch John Rutherford is open to speculation.
Amelie The Musical oozes Gallic charm from Daniel Messé’s evocative music to the enchanting performance of its luminous star, Audrey Brisson.
The halcyon days of school and the opportunities it afforded her mother has led Wise Children artistic director Emma Rice to adapt Enid Blyton’s classic boarding school story, Malory Towers, into a stage musical. The show premieres this summer, opening at The Passenger Shed in Bristol, before touring.
York Theatre Royal is behind the wheel for a new production of Alfred Uhry’s award-winning comedy-drama Driving Miss Daisy which takes to the stage next month with Maurey Richards steering Paula Wilcox on a journey of discovery.
Phillip Breen’s lively revival of John Vanburgh’s Restoration romp, The Provoked Wife, for the Royal Shakespeare Company, has glorious parts for both Caroline Quentin and Alexandra Gilbreath.