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.
To commemorate their having opened a new site on St Martin’s Lane, Love London Love Culture lists five good reasons why you should pay a visit to The Theatre Cafe if you haven’t already been…
With plenty to say about the shallow foundations of political leaders hiding behind their PR machines, Jamie Lloyd’s triumphant Evita is raw, fresh and intense – “oh what a show!”
suspect this show will have a future, evolving life, and it is well worth checking out if it appears on your radar. I’d certainly be interested in seeing what they do with it next.
Full disclosure, I was not excited about seeing a show about Boris Johnson. Frankly I’m feeling a tad Boris-ed out these days, but fortunately, given a lively and plentiful audience, not everyone seems to be turned off by the subject matter.
Love London Love Culture rounds up the reviews for Mr Gum & the Dancing Bear, Andy Stanton and Jim Fortune’s musical based on the children’s books. It continues in rep at the National Theatre until 31 August 2019.
If a student disco is your personal nightmare, look away now. Tree starts and ends with a throbbing onstage party to wish the audience is persuasively invited. The last time this many Waitrose customers grooved awkwardly to African beats was on Paul Simon’s Graceland tour.
A rare summer in the city for me means I can take in some of the family shows on in the West End right now – including Mr Gum and the Dancing Bear the Musical, The Scarecrow’s Wedding, Where is Peter Rabbit? and Monstersaurus.