The Old Vic has announced its Back Together season, the seventh from artistic director Matthew Warchus, which will run from July 2021 to July 2022 and combines both streamed and live shows.
The latest addition to the Old Vic’s In Camera series will Dr. Seuss’s The Lorax from 14–17 April 2021 with Jamael Westman (Hamilton, West End) as the Once-ler and Audrey Brisson, David Ricardo-Pearce and Ben Thompson as The Lorax. Other cast includes: Richard Katz, Melanie La Barrie and Silas Wyatt-Barke.
Marking International Women’s Day, the Old Vic is streaming One Hand Tied Behind Us, a collection of short plays originally staged in 2018 to mark 100 years since women were given the right to vote.
The Old Vic has announced two new commissions for International Women’s Day to be screened as part of the Your Old Vic programme. These One Voice monologues are written by Kiri Pritchard-McLean and Regina Taylor and will be broadcast on YouTube from 8 March 2021.
The Old Vic has announced In Camera: Playback, a limited series offering people the chance to revisit the first three live streamed Old Vic: In Camera productions.
Do fill your glass, glam up and get ready to join host Jason Manford in saluting the Olivier Awards 2020 winners and nominees. Oh and why not take a look at the social media build-up to the big night too.
Now in its fourth year, Jack Thorne’s A Christmas Carol will return to The Old Vic as an Old Vic: In Camera production (12-24 December 2020).
John Chapman ties up a few loose ends by catching up with short play/film Shielders as part of the Traverse Theatre Festival and the live stream of Stephen Beresford’s play Three Kings, starring Andrew Scott and streamed from The Old Vic.
The Old Vic has announced the next in the Old Vic: In Camera series with a scratch performance of Brian Friel’s classic play Faith Healer. The production will star Michael Sheen, David Threlfall and Indira Varma.
It is not often that we see the messy workings of entertainment law and intellectual property that lurk behind the glossy exterior of the music industry.
If you are thinking of experimenting with this strange new medium and want to worry about global warming instead of a pandemic for a change, read on for what I thought back in October.
Much is to be taken from the strangeness of the settings and fine characterful performances in Endgame and Rough For Theatre II which should please Beckett fans and providing plenty of thoughtful material for the journey home.
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 27 October 2019). Maryam Philpott is gripped by the work of Claire Foy and Matt Smith in Lungs at The Old Vic…
Part of the success of Lungs is that it is not the uber-liberal, finger-wagging climate change play you expect it to be, plus both the production’s stars are superb and entirely believable as the central couple.
In A Very Expensive Poison Lucy Prebble has serious arguments to outlay about the relationship between international governments and narrative misdirection, but the broadly comic approach to presentation feels at odds with the meaning of the play.
Paterson Joseph (Peep Show, Green Wing) is to star as Ebenezer Scrooge in Matthew Warchus’ big-hearted, hit production of Charles Dickens’ classic A Christmas Carol, adapted for the stage by Jack Thorne (Harry Potter and the Cursed Child). The Old Vic’s A Christmas Carol returns on 4 December 2019,
Carrying on a new series, our editor Lisa Martland has picked out her Top Picks from the last week including Anne Cox’s thoughts on Present Laughter, while Aleks Sierz reports from Bitter Wheat.
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.
The Old Vic’s production of Present Laughter finally feels as though we’re shaking off some of the restraints that have shackled Noel Coward to the past.
It is almost uncanny how an Arthur Miller play like All My Sons, treated respectfully, can in the most wrenchingly extreme story still catch the common rhythms and tides of family and neighbourhood.
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