What makes Crisis What Crisis special is the strong storyline and convincing performances in combination with game play.
Adapting a multi-generational family saga for the small stage takes ambition, confidence and knowing just where to cut, The House of the Spirits has all three covered.
With a few modern updates, this new interpretation of the Cinderella story in Soho Cinders boasts several top notch musical theatre ballads.
Chemistry is an at times unsettling, but always compelling evening. It humanises the stigmatised and touches the soul using a wonderdrug – intimate performance.
Lorna Dallas is the essence of old school cabaret distilled. She oozes glamour and combines the look of Blanche Deveraux with a spirit of a proper Illinois broad.
Presenting a revival of Ben Elton’s early 90s environmental farce Gasping in The Space, located just minutes from Canary Wharf, is appropriate.
Wunderkind actor-writer Arinzé Kene (how can one man be so talented?) knocks it out of the park with the revival of his 2011 play Little Baby Jesus.
After a run at the Southwark Playhouse, Afterglow, S. Asher Gelman’s story of polyamory in modern American, returns with a new cast.
The Knock Knock Club (Reece Connolly, Christopher Keegan, Caroline Buckley) investigate the venue and present their findings in Last Orders, as part of the London Horror Festival.
Jeremy Dyson and Andy Nyman’s Ghost Stories has been entertaining audiences since 2010 both on the stage and in a 2017 film adaptation and this revival at the Ambassadors Theatre is a welcome return.
Tom Ratcliffe’s one-man show Velvet follows a tributary of the River Weinstein to the English audition scene – a world of bits parts and capricious agents. Essentially, it’s a riff on the old joke, “who do I have to blow to get this job?”
In terms of performances and book Angela’s Ashes The Musical is a great show and a lovely adaptation of a well loved book. But less so an exceptional musical.
If the devil is in the detail, David Hare’s old polemic against rail privatisation, Permanent Way, is a satanic ejaculation.
Cora Bissett’s What Girls Are Made Of is an engaging story, framed – in truth or hope, as one of naivety, overreach and reinvention. But it’s also a tale told from a single perspective;
Pint of Wine’s production of Michael John LaChiusa’s Queen of the Mist transfers from the Brockley Jack Studio to the traverse stage of the Charing Cross Theatre, keeping its original cast in tact.
Chiaroscuro succeeds as a celebration of how the lives of different black women are thriving, whatever their sexuality.
Arrows and Traps’ residency at the Brockley Jack is a guarantee of quality. This new adaptation, from director and writer Ross McGregor, of the classic novel sets the scene in 21st century America; amongst school shootings, right wing rhetoric, sexuality and the science that makes Jekyll & Hyde seem a possibility rather than a fantasy.
Though it’s in places informative, A Very Expensive Poison is a very expensive means of sapping the intrigue and human interest from one man’s inhumane death
Hands up if you’ve seen MacBeth. Now keep your hands up if it was a musical version. Now keep them up if it was a musical performed by (what I assume for legal reasons aren’t actually) muppets.
Promising ‘a decadent and astonishing blend of sensational acrobatics, soaring aerial trapeze, operatic cabaret and tongue in cheek burlesque’, Rouge transfers to London straight off the back of its UK premiere for Underbelly at the Edinburgh Festival Fringe.