Close Login Box
This is the second stage adaptation of Alexander Mackendrick’s tired old Ealing comedy to reach Ipswich this year, but where Peter Rowe’s
What to make of this? Julia Jarcho’s Obie award-winning 2013 three-hander here making its UK premiere in a lightly immersive staging created
There’s a unique delight in seeing Tony Christie fumble out gags about his sparkling back catalogue to a baffled audience of entirely
It’s Rapunzel, but not as we know it. Cambridge Junction’s Christmas show, a co-production with Valentina Ceschi and Thomas Eccleshare’s Dancing Brick,
Timely vitality: James Fritz's intense, sprawling new play is a call to action.
The post Review: Parliament Square at Bush Theatre appeared first on Exeunt Magazine.
Lifting its title from a line in Hamlet, and also focusing on the increasingly alarming behaviour of a young man mourning his
New Wolsey artistic director Peter Rowe and long-time panto partner-in-crime Ben Goddard have hit upon a winning festive formula: their annual ‘rock
Everybody really is talking about Jamie. Tom MacRae’s new musical turned heads when it premiered in Sheffield last year, and it’s turning
Anders Lustgarten’s new play The Secret Theatre inhabits the same historical moment as Schiller’s Mary Stuart – the late 1580s, with Elizabeth
For more than 75 years, the Little Theatre Movement has been staging pantomimes in Jamaica’s capital, starting with very British-style offerings, but
Last December, Belgian big-shot Ivo van Hove’s production of Hedda Gabler opened on the National’s Lyttelton stage, a radical revival that the
David Mamet’s Pulitzer Prize-winning play, now revered as an all-American classic, actually started its life in London. Its first production came courtesy
Contractions is like a site-specific episode of Black Mirror. Emma (Abigail Poulton), a chirpy, cheery salesman at an unnamed international company, is
Roger Gellert’s only play, Quaint Honour, received its world premiere in 1958 at the Arts Theatre, where it was able to dodge the
Comedy writing duo Sam Bain and Jesse Armstrong share an impressive CV – sketch writers for Mitchell and Webb, co-creators of the
There are misjudged artistic decisions and then there’s this. The inaugural production of Latimer Road’s new Playground Theatre is an outrageously sexist,
Stewart Pringle’s Papatango prize-winning two-hander is the sort of play you want to take your gran to: a modest not-quite-love story brimming with gentle humour
There’s one big problem with reworking The Invisible Man for the theatre. See if you can spot it. No, it’s him. Over
Nicholas Hytner and Nick Starr, who together ran the National Theatre for 12 years and oversaw some of the biggest theatrical smash-hits
He considered himself impervious to stage horror, but after taking part in a research project monitoring audience’s heart-rate activity while watching live
Good state-of-the-nation stuff: Fergus Morgan reviews Mike Bartlett's new play at the Almeida.
The post Review: Albion at the Almeida appeared first on Exeunt Magazine.
In the late 1970s, punk band Oxy and the Morons nearly made it, coming within a pen-stroke of signing with record label EMI, before
What an awful moment for Venus in Fur to arrive in the West End. With stories of Hollywood’s deep-seated misogyny dominating the
The lights come up. A woman in a giant mouse costume is furiously riding a prostrate man. They climax, then, in thick Belfast accents, have an
A sledgehammer made of metaphor: Fergus Morgan reviews Rory Mullarkey allegorical play about the history of Britain.
The post Review: Saint George and the Dragon at National Theatre appear…
Dublin Theatre Festival turns 60 this year, not that artistic director Willie White is particularly focused on commemorating such longevity, announcing that “Anniversaries are a
Talk about reanimating the dead. US comedy legend Mel Brooks’ classic 1974 spoof film Young Frankenstein had been gathering dust for 33
If there was an Olivier for most intimidating play title, Simon Stephens’ new two-hander would be a shoo-in. Fret not, as Heisenberg: The Uncertainty
Does James Graham ever take a break? Not content with two West End runs already in 2017 – This House, which finished its long-overdue transfer back
David Farr’s hectic 1996 football comedy Elton John’s Glasses – here given its first UK revival by Psyche Stott – is a
We’ve already had one Take That jukebox musical: in 2008, the ill-fated Never Forget had a brief West End run before sinking