The West End hit, Bill Kenwright Productions’ stage adaptation of The Exorcist, is now at Theatre Royal Windsor ahead of a new UK-wide tour. Is this demonic tale as scary as ever? We’ve rounded up a selection of review highlights. Time to get booking!
The demon is waiting… Is the scariest movie of all time even scarier live onstage? Take a look at these two trailers of The Exorcist for a hint, but you’ll have to be brave enough to buy a ticket to confirm. The hit play returns to the stage tomorrow at Theatre Royal Windsor. Time to get booking!
Did you know that John Pielmeier, who has adapted The Exorcist for the stage, is also the award-winning writer of Broadway hit play and Jane Fonda-led Hollywood film Agnes of God? As The Exorcist returns to the stage at the Theatre Royal Windsor ahead of a new tour, we talked to him about faith, demons and Ian McKellen. Time to get booking!
Are you ready to be scared out of your wits again? Following its successful West End run in 2017-8, the acclaimed adaptation of classic horror film The Exorcist returns to the stage next week at the Theatre Royal Windsor with a stellar cast at the start of a brand-new tour. For the truly brave, the performance on Friday the 13th of September will be followed by a special ghost tour of the theatre. Time to get booking!
The award-winning play The Rubenstein Kiss from James Phillips about Julius and Ethel Rosenberg who allegedly passed US atomic secrets to the Soviet Union, is currently having its first London revival at the Southwark Playhouse. Love London Love Culture rounds up the reviews.
There couldn’t be a better time to revisit James Phillips’ 2006 debut play The Rubenstein Kiss and its story of idealism, especially in the current climate of global and national uncertainty, anti-Semitism and zealotry.
Ideological hostilities across the world, fake news and paranoia, a resurgent deep left, uneasy relations with Russia, antisemites questioning the patriotism of Jews: no bad time to revive James Phillips’ powerful play The Rubenstein Kiss.
James Phillips’ award-winning drama The Rubenstein Kiss can now be seen for the first time in London since its 2005 premiere. What have critics – including Mates co-founder Mark Shenton – been saying about Joe Harmston’s timely spy revival? We’ve rounded up a selection of our favourite reviews below. Time to get booking!
It’s opening night tonight (18 March 2019) for the first London revival of James Phillips’ multi-award-winning espionage dramaThe Rubenstein Kiss at Southwark Playhouse. Check out our full gallery of production shots – and then get booking!
What is truth? In today’s crazy times, what can we learn from the past? Stars Ruby Bentall, Sean Rigby and Stephen Billington discuss the timeliness of Devil You Know’s first London revival of James Phillips’ award-winning espionage drama The Rubenstein Kiss. Watch our video interviews and show trailer – and then get booking!
Devil You Know Theatre Company has announced full casting for the first London production since 2005 of the multi-award-winning play The Rubenstein Kiss by James Phillips, directed by Joe Harmston for a limited season at Southwark Playhouse from 14 March to 13 April 2019, with a national press night on 18 March.
After a successful production last year with Arthur Miller’s Incident At Vichy, director Phil Willmott returns with another one of Miller’s plays – this time one of his lesser-known works. Paradoxically, it is of more possible interest than the rest of his canon…
Quincy meets Crossroads as the latest adaptation of a Peter James thriller, Not Dead Enough, hits the King’s Theatre. Literally. There’s a killer on the loose in Brighton.
Being obsessed with crime drama, I was interested to see how something that would usually be a six part television series would adapt to the stage. I was surprised and delighted to find that the answer was incredibly well.
Alan Ayckbourn’s latest play sees this most prolific of playwrights fire off yet another salvo of domestic dysfunction. Hero’s Welcome, set in a northern English town, treats his audience to tableaux of human misery staged as an end of the pier farce.