More than four centuries after William Shakespeare died in 1616, aged 52 on his own birthday (23 April), questions remain about the authorship of his prodigious output – including nearly forty plays and more than 150 sonnets.
As much as it was possible for anyone the arts, Northern Comedy Theatre had a very good pandemic. When all performing arts venues closed, rather than wrap up their work, they ramped up.
More specifically in this story: would you have sex with a stranger if they paid you $1 million? And, for those in relationships, would you be tormented if your partner did?
While its limited run has now finished at the White Bear Theatre, you can still experience the joy of Anton Chekhov’s Vaudevilles care of MyTheatreMates founder Terri Paddock’s post-show discussion. Maybe another revival is on the cards?
There’s a line in The Last Five Years, Jason Robert Brown’s semi-autobiographical musical two-hander about a relationship breakdown, that gets me every time: “I will not lose because you cannot win.”
I don’t have children so the 2013 release of Disney’s animated film of Frozen largely passed me by. It wasn’t until a Christmas a couple of years later that I finally saw the film.
Lately is the third new play premiered by and specially created for new writing company Proforca Theatre to be performed at London’s Lion & Unicorn Theatre. Terri Paddock hosts a Q&A.
How far are you willing to go to get what you most desire? That’s the question at the bloody heart of Salome. And it’s a question that so fascinates Lazarus Theatre that they’re now having a third go at Oscar Wilde’s provocative 1891 tragedy based on the Biblical tale.
Despite threats that Cinderella might be cancelled for good, or exported to a more supportive arts climate, here it is at last and, I am happy to report, this ball of a show was worth the wait.
If it weren’t for Covid-19, we probably wouldn’t have Jersey Boys back in the West End. The return of the blockbuster Broadway bio-musical about The Four Seasons closed in the West End in 2017 after nine years, first at the 1727-seat Prince Edward Theatre followed by the 1232-seat Piccadilly Theatre.
Five spine-tingling ghost stories are woven into the action on one stormy night in When Darkness Falls, premiering this month at the Park Theatre. All are grounded in folklore from the island of Guernsey, where the play is set and where its co-writer and director Paul Morrissey grew up.
Timothy Sheader’s revival of Carousel at the Open Air Theatre Regent’s Park has made me reconsider the musical, and the ways difficult subjects can be repositioned, but it hasn’t made me love it any better.
As much as I was looking for any excuse to return to Southwark Playhouse, it was the show that lured me back. Or to be more precise, Rachel Tucker starring in the show, musical two-hander John & Jen.
When you book to see Joseph and the Amazing Technicolor Dreamcoat, you are guaranteed not only a joyful night out at the London Palladium but also a time-travel ticket to your childhood.
Well done to the Be More Chill company. This new musical had just had its successful UK premiere and announced a lengthy extension at The Other Palace when Covid shut it down in March 2020.
A mocking tweet over the veracity of the ‘self-made’ adjective launches Jasmine Lee-Jones’ play Seven Methods of Killing Kylie Jenner, now transferred to the Royal Court’s Downstairs main house after its premiere in the Upstairs studio two years ago.
I have become obsessed with where the money goes in The Money Live. When my neighbour Charlotte and I attended the “part game, part moral debate, part theatrical experience” earlier this week, the cash pot (initially £296, reaching nearly £400 as more ‘silent witness’ audience members paid a £20 upgrade to join the action) rolled over as no unanimous decision was agreed.
For the show to lure a nervous (but now fully vaccinated – yay!) me back to the theatre after nearly 15 months, it’s hard to imagine more soothing fare than Amelie The Musical.
For me, the feeling of missing theatre (when there isn’t really much happening) makes me incredibly sad, but missing out on theatre (because I am not making the effort to be a part of it) makes me unbearably anxious. I have to get back to Theatre Terri.
I first fell in love with Once after seeing the original 2007 independent Irish film. Then again when I the Tony Award-winning musical adaptation had its West End premiere in 2013. And now again on the musical’s first major UK tour.