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.
It is difficult not to find yourself tapping your toes along to some classic songs and fabulously fun choreography by Bill Deamer.
Iris Theatre’s adaptation of Victor Hugo’s classic novel is certainly an ambitious and refreshing take on the story – but can’t always make up its mind whether it wants to be taken seriously or not.
One thing I’m really loving about the Camden Fringe is the breadth of creativity and experimentation. Scenic Reality is a prime example of a fresh piece of new writing that explores different storytelling techniques.
Deep under the trees, beyond Jimmy’s meerkat and camel enclosures lies a 1960’s beach: shelter, deckchairs and lounging teens, Mods and Rockers, Montague and Capulet.
It initially hit the headlines for controversial reasons about artistic credit. Now that it’s opened, what have critics said about Idris Elba and Kwame Kwei-Armah’s Tree? Premiered as part of the Manchester International Festival, it’s now transferred to London’s Young Vic Theatre, where it continues until 24 August 2019.
Director Jamie Lloyd offers up a complete reimagining of the Andrew Lloyd Webber and Tim Rice musical and one which feels sparkingly fresh in every single aspect.