As Biden tried valiantly to make a distinction between the so-called MAGA extremists (Make America Genocidal Again) and ordinary Republicans, one is reminded of the tension – the liberal guilt and acute awareness of caste privilege that runs through Harper Lee’s To Kill a Mockingbird.
The use of music and dance (all types) along with some interesting guests via video makes Jean-Paul Gaultier – Fashion Freak Show at the Roundhouse one of the most interesting and diverse shows in London right now. Even if you aren’t a fashionista JPG is such a fascinating man that you will enjoy learning about him and getting to see his work in person.
Acclaimed screenwriter John Goldsmith brings his first play The Throne to Charing Cross Theatre this summer. It is set in 2002, the year of the Golden Jubilee, and imagines an encounter between a Republican school teacher Derek (Charlie Condou) and Queen Elizabeth II (Mary Roscoe) when they get stuck in a toilet together.
Does A Doll’s House really need an epilogue? On this evidence it’s a sound choice. The force and weight of Ibsen’s play came from the decision to abandon institutional forces – the husband, the baby, the estate; but in A Doll’s House Part II at the Donmar Warehouse Lucas Hnath, with sound reason and compassion, reminds us that human beings prop up society’s structures and they too have a voice and perspective worth hearing.
One thing that I have really, really missed over the last two years is just good plain fun. This is what Viper Squad has in spades.
The iconic 1980s romance is re-worked for the stage in this straightforward but energetic production. Full confession: I grew up obsessed with Dirty Dancing, and I kind of still am.
Designing an immersive experience for an audience as obsessive as Doctor Who fans would seem almost completely impossible.
F Scott Fitzgerald’s The Great Gatsby was first published nearly 100 years ago yet it still continues to inspire modern adaptations and interpretations.
Theatrical spinoffs from popular movies are usually ill-conceived and redundant; a double whammy from which you’re less likely to come back than Chrissie Watkins after a swim off the beaches of Amity Island.
I’m a huge fan of Back to the Future. I saw it for the first time in January 1986 and maybe a hundred times since.
James Graham finds an analogue for today’s culture war in 1968 USA care of Gore Vidal and William F Buckley.
Theatre, still recovering from economic and talent loss, following Covid-19 is understandably taking a safe approach to productions.
Business and boxing collide in this revival of Yasir Senna’s play by Razor Sharp Productions. Alisha Harper-Gill is on the ropes, fighting for her career.
The first thing you’ll notice when you enter the auditorium is the incredible set design which brings you right into Beverley and Laurence Moss’s decadent lounge.
You gather in an unassuming office reception to start – looking much like any of the thousands of office receptions in the surrounding part of the city.
A young woman listens to pop music on headphones. The people around her can’t hear it. We, the audience, can – a bit. But it’s a solitary experience; unshared. Something universal is also isolating.
I like Six because it is short, the costumes look amazing, it focuses on female talent from the six leading queens to the backing band and it has a range of songs and talent rarely seen in many musicals.
Fans will no doubt revel in recognition of their favourite songs during this rock opera based upon the epic power ballads of Meatloaf and Jim Steinman.
Lucy Bailey’s site-specific production of Agatha Christie’s courtroom drama has returned to London County Hall, after a lengthy, if unplanned adjournment, and remains one of the most effective theatrical settings in London.
In this one-woman show, writer and performer Beth Burrows fascinates her audience even as she exposes some of the flaws of her famous male subjects: Fred Astaire, Gene Kelly and Frank Sinatra.