With no audience to see for themselves, how do you believe in the magic? I was intrigued then to find out more about The Secret Connection who recently started doing online magic shows.
Testament places some of the Bible’s most interesting bit part players in a modern setting and gives them centre stage.
It’s fitting that Next Thing You Know revolves around four young people searching for moments that are rare and precious in a life that is achingly normal.
The big question is whether the big sound of Pippin translates to an outdoor space on the edge of the Vauxhall one way system. The answer is a resounding yes.
It is in the second half of Squad Goals where the play comes to life and comes into its own. The football tournament is depicted through two long, dance sequences that burst with a ferocious, kinetic energy that absolutely fills the stadium.
One amazing thing that has come out of Covid-19 theatre is more filmed theatre. My latest theatre experience from the comfort of my own couch was Moment of Grace by Bren Gosling, presented by Backstory Ensemble.
Now if you think that The House That Slipped is simply a well-meaning, worthy play, you would be wrong. The script, direction and the way Zoom is an essential part of the story, make it witty and intelligent.
Shakespeare. Theatre. Press Nights. These are all concepts we are familiar with, but in this unprecedented time of COVID-19 lockdown, for a moment we were unsure how theatre would survive.
In this world turned upside down, emergency legislation has been rushed through to do away with barristers. Now the accused in court have only you.
We need to use this time wisely. As audience members, what do we want to see; as creatives, what can be made. If the expectations don’t match, then audiences won’t be back.
This play, written especially for Zoom by John Knowles, looks at a group of people trying to make a seance work when they can’t hold hands.
A fascinating historical curio, Sasha Regan’s production Peace In Our Time is also a fine piece of speculative drama, imbued with Coward’s gift for eloquence and waspishness.
In a world where – if the virus won’t kill us, Donald Trump will – we really, really need good, well delivered, confident silliness and The Importance of Being Earnest delivers.
What makes Not Quite Jerusalem such a vivid and enjoyable play, is the nuanced and recognisable characters – backed here by exemplary performances from a talented cast.
The Old Red Lion’s put together an interesting triptych of plays that, if you’re short for time, allow you to experience the gamut of human experience.
Verbatim plays can often feel static with a view of just letting the words do the work, but the words really lift off the page in The Special Relationship.
The atmosphere created by the superb cast in Jekyll & Hyde as well as the challenge of the game is enormous fun and the time flew by.
Clearly something in Be More Chill has touched a chord with today’s youth, but catchy songs written by committee to hit the teen feelz doesn’t make up for a weak book and problematic politics.
Based on Simon Callow’s English translation, this version of La Cage aux Folles stays true to the original French text. Callow’s edits and new dialogue has given us a fresh interpretation which is arch and bubbling with hilariously sharp one-liners.
Temi Wilkey has written a brilliant first play, which grabs you even though you’ve probably seen many of the components of The High Table before.