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Jack Robson’s I Woke Up Feeling Electric asks some morally and technologically challenging questions at the Hope Theatre.
In Death of England, Rafe Spall delivers the performance of a lifetime in this punchy monologue by Clint Dyer and Roy Williams at the National Theatre.
The perils of midweek drinking writ large – After(s) examines what it means to be in your mid-twenties today at the White Bear Theatre in Kennington.
The Misadventures of David and Sam proves a good-natured and light-hearted piece of fun family theatre at the VAULT Festival.
A fine revival of Lucy Prebble’s first play The Sugar Syndrome features a strong debut performance from Jessica Rhodes at the Orange Tree Theatre.
Insofar as it is humanly possible for any one person to know everything that is happening at the VAULT Festival this year, I present a handful of my recommendations for 2020.
Conor McPherson’s adaptation of Uncle Vanya featuring Toby Jones and Richard Armitage at the Harold Pinter Theatre is so good you can forgive the “wanging on”.
Lucy Kirkwood returns to the National Theatre with The Welkin, starring a brilliant ensemble led by Maxine Peake.
With its focus on the small things, Sam Steiner’s play You Stupid Darkness! is a delicate but delicious thing at the Southwark Playhouse.
The Other Room’s The Story and Hela make a delightful and daring double bill of Welsh drama at Theatre503.
BAZ Productions’ The Process proves bold and striking in its use of BSL and spoken English, if a little flawed too, now running at the Bunker Theatre.
A musical adaptation of Tom Brown’s School Days at the Union Theatre has some moments, and performances, to treasure.
As well as providing a welcome opportunity for performers to really cut loose, Six also – sadly – remains at the cutting edge of the zeitgeist.
Holy What’s Antigone at the New Diorama shifts the focus of Sophocles’ play onto two young sisters to powerful effect.
Ought To Be Clowns tackles a trio of Broadway cast recordings in the shape of Cole Porter’s The New Yorkers, Kiss Me, Kate! and Beetlejuice.
Ought To Be Clowns barely saw 250 shows this year, quiet by his standards. And as is the way of these things, here’s a rundown of some of the productions that moved me most…
Looking ahead to some of 2020’s exciting shows, most with an emphasis away from the West End and instead focusing at the London Fringe and across the UK.
Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be dif…
A Kander & Ebb premiere in the West End you say? Curtains makes its bow at the Wyndham’s Theatre and I had an arrestingly good time with it.
Not too much more to say about Amélie the Musical, now in London at The Other Palace, other than book now for un moment merveilleux.
Teenage Dick at the Donmar Warehouse does extremely well in dealing with disability but I think we’re kidding ourselves if we’re yet in a place where this would happen organically.
Inua Ellams’ relocation of Chekhov’s Three Sisters to the Biafran Civil War proves devastatingly effective at the National Theatre.
Not much festive cheer around at the Royal Court, but plenty of grimly insightful writing in Gurpreet Kaur Bhatti’s A Kind of People.
Because nothing says Merry Christmas like a stage mum going off the rails! Gypsy offers a different festive treat at Manchester’s Royal Exchange.
As light as a madeleine and as frivolous as a macaron, Sandy Wilson’s The Boy Friend proves a festive treat at the Menier Chocolate Factory.
No doubt about it, Nikolai Foster’s production of West Side Story for Curve Leicester is damn close to musical theatre perfection.
Jonathan Groff and Darren Criss elevate Glee star Lea Michele’s first holiday album Christmas in the City.
A musical theatre album with a difference, RE:arrangement – An Album by Nick Barstow is refreshingly bold.
Luke Evans’ debut album At Last is full of emphatic pop covers and his powerful voice at full stretch, not always a winning combination.
There’s much to like about Dear Evan Hansen at the Noël Coward Theatre, not least a brilliant lead performance from Sam Tutty.
Really, in the end, Mary Poppins is the kind of production full of uncomplicated fun that can’t help but
uplift the soul in the most delightful way.