Joanna Carrick’s skilful stage adaptation of The Wind in the Willows at the Avenue Theatre, Ipswich is faithful too: while the show is fun enough for its school matinees – the physical comedy of Darren Latham and Matt Penson in particular is lively and sharp-witted – she does not shy away, as many adaptors do, from Grahame’s orotund dialogue exaggerations.
Mark Ravenhill’s new play Angela is a fragmentary sonic autobiography, both tender and occasionally fraught.
Vibrant and heartfelt, this cast recording of the music from In The Willows, the hip hop take based on The Wind in the Willows, highlights a great musical to get children into musical theatre.
Online theatre is a great way to see shows, especially in these hard times, and especially for those who cannot afford or are able to watch them live because they live further away from London.
This year, for the first time in decades, I decided that I’d choose my own Christmas shows and arrange to review them rather than waiting for editors to impose them on me. And I’m having a lovely December so far.
Big openers include Pinter 4 (Moonlight/Night School), the return of The Curious Incident of the Dog in the Night-Time (Piccadilly Theatre), Caroline, or Change at the Playhouse and Hadestown at the National (Olivier Theatre).
When you see around 200 different shows, you’re bound to come across a few duff ones, but I’m pleased to say that nearly all of the bad shows I saw can be found in this post.
On the beautiful banks of Kew Gardens, we enter the animal world. The audience become rabbits with paws on their ears, wiggling noses and singing together ‘whispering willows’.
West End musical THE WIND IN THE WILLOWS will now end its limited season at the London Palladium on Saturday 2 September 2017.
I started off as a stand-up comedian having grown up as a kid always wanting to be a stage actor and when the opportunity to do actual stage acting arose, I couldn’t quite believe it.
The concentric hooped wooden arches framing the proscenium should give you a clue: made from the barrels scraped during the production process
A new West End production opened this week in one of the most prestigious theatres in London, the show was The Wind In The Willows. Previously touring, it’s now hit London for a limited run at the London Palladium.
The Wind in the Willows is a perfectly fun, family show. It’s not a theatrical masterpiece but it’s a cute, heartwarming fable that’s sweet enough for both children and adults to enjoy.
Looking to introduce your children to the world of theatre? Here’s a few productions around now and coming soon in London.
Denise Welch, Gary Wilmot, Craig Mather and Simon Lipkin will join Rufus Hound and Neil McDermott in the major new musical THE WIND IN THE WILLOWS at the London Palladium this summer.
Following a highly-acclaimed pre-West End engagement, the major new musical THE WIND IN THE WILLOWS will open in the West End at the world-famous London Palladium. Previewing from 17 June 2017, the production will open on 29 June 2017. Leading actor, comedian and presenter Rufus Hound stars as the amazing Mr Toad with EastEnders and Shrek star Neil McDermott as …
2016 has undoubtedly had its highs and lows. I wanted to find out what were my regular reviewers’ two favourite theatrical productions that they had covered for me this year?
As it’s the first of the month, we’re taking a brief moment to remind ourselves of the biggest news stories from the month just closed. What were the headlines that got readers clicking most? Any surprises? Our Top 10 News stories from November 2016 are listed below with summaries and links to read more.
The Wind in the Willows, Kenneth Graeme’s beloved family tale of the riverbank has delighted readers young and old for over a century. The story of Ratty, Mole and the severe Mr Badger and their mission to save the notorious Mr Toad from himself is a timeless classic enjoyed by all.
Kenneth Grahame’s story of Ratty, Mole, Badger and the irrepressible Toad have been a favourite of many for longer than they can remember – I grew up delighting in the stop-motion version and have long been a staple for adaptation on both stage and screen, Grahame’s skilful evocation of a pastoral England that no longer exists (and may never have) is infinitely comforting and inviting.
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