Mandy Picks a Husband, an autobiographical show written by and starring Amanda Broomell, continues at London’s Canal Cafe Theatre until 8 December 2019.
Everything is both spectacular and, importantly, also feels like something you could play at home with tablecloths and cardboard in The Lion, The Witch & The Wardrobe. If you can’t borrow any children to take, haul your own inner-child along.
If more resources are not put into more apprenticeships, it will be a great pity for both for the creative industries & the many young people who simply don’t get the opportunity to make the best of their talents.
Sexy, naughty, playful and energetic, La Clique makes a welcome return to London to make for perfect alternative festive entertainment.
Despite the plot holes, this is a charming musical that has potential. This might be the first outing for Alick Glass’s 1930’s set musical but there is still plenty of potential to be found in it despite the flaws in the plot and number of songs included in it. Taking place in 1935, Michelle is… Read More
Anupama Chandrasekhar’s chilling play examines what happens when a cycle of violence and those who stand by and watch it happen is passed down through the generations.
I have been attending classical music concerts since my early teens. And as this year’s Proms season ends I’m struck that I’ve been here, as it were, for a very long time. The Royal Albert Hall feels almost as familiar as my own sitting room.
From this quiet earth in the 1930s rose gold and jewels, a sword and helmet, intricate brooches and pins, platters and drinking-horns. This is Sutton Hoo, which was called “England’s Little Egypt”.
Ophelia Rewound is an autobiographical, interactive, solo performance devised, performed and directed by Antigoni Spanou. Threading together the story of Ophelia, and Antigoni’s own experiences of depression and attempted suicide, this is a deeply personal and moving theatrical experience. Starting at the end, our first role as audience is to witness and feel. This is … Continue reading Ophelia Rewound at the Camden People’s Theatre
Nicholas Wright’s sharp play imagines the US touring production of the first black Othello and its aftermath in the uneasy years of the McCarthyite search for Communist sympathisers.
“Having re-read the book, I was struck by how powerful Jane’s path was – and if it had made me feel that way in the 21st century, the effect on its readers when it was first published must have been seismic!”
Our Walk Through the World is a collection of six sharply written, short plays by Ross Howard that highlight some of the absurdities of modern life.
Mary Jane Figtree’s play is based on the concept of an Italian 90s play called Orgasmo e Pregiudizio. With this, her first play, she has written something that succeeds in being both funny yet emotionally resonant.
The Geminus is an atmospheric new play by Ross Dinwiddy and is based on Joseph Conrad’s novella The Secret Sharer. By incorporating a romantic twist, Dinwiddy creates an emotional centre to the piece, which is so important when translating prose to the stage.
The point – and it’s a major one – is that the actor, irrespective of all other considerations, must be the best possible interpreter of the role for the work in question.
At last, someone has laid the sugary ghost of Elaine Paige. Jamie Lloyd’s stripped-back Evita at the Open Air Theatre in Regent’s Park has all the metallic modernity of their Jesus Christ Superstar.
One test of biography jukebox musicals is how much an uninitiated audience member ends up learning about the artist through the course of the show.
Ned Bennett’s thrillingly engaging production of Peter Shaffer’s play grabs the audience’s attention and imagination brilliantly.
Just as much as the emotional impact, though, it’s the unique and original approach to the subject matter that makes this debut production from Turn Point Theatre particularly memorable.
It is always a pleasure to see a professional debut which not only shines in itself but reminds us that belonging to a 21st-century, loose-limbed-liberal post-Christian generation doesn’t stop a new actor from empathising and utterly containing a character from another age.