Close Login Box
Having previously presented adaptations of Frankenstein and Dracula, writer and director Ross McGregor turns his attention to Robert Louis Stevenson’s The Strange
Opera and sport both involve feats of technical prowess, dramatic climaxes and intense fervour among their fans. R’Otello, presented by London-based Samoan
Three estranged siblings are forced to come together to sell their father’s flat for his care home bills. As well as the
While the medieval Temple Church is associated with Magna Carta and filled with effigies of Knights Templar, it is the domestic elements
Showtune, also the title of Jerry Herman’s autobiography, is a revue that provides exactly what it says on the tin in terms
Andrew Lloyd Webber’s and Tim Rice’s bold, brash 1978 ‘rock opera’ Evita is the ultimate star-making vehicle. The triple-threat performer playing Eva
Gail Louw’s play takes the form of a one-sided conversation with a ghost. Harry McNish was the carpenter on board the Endurance
When the lights blew during Jeremy Herrin’s production of Noises Off, it wasn’t yet another misstep in farce-within-a-farce Nothing On – rather
To celebrate a decade of presenting Shakespeare at St Paul’s Church in Covent Garden, Daniel Winder’s Iris Theatre is staging Hamlet. The
‘Melodrama’ has become synonymous with far-fetched coincidences and indulgent emotions. Phil Willmott’s entertaining production of Dion Boucicault’s 1868 play After Dark; Or,
Inspired by her mother’s experiences growing up in a large Italian-American family, Meghan Kennedy’s play Napoli, Brooklyn (set in 1960 and performed
Kate Budgen’s production of Oscar Wilde’s evergreen comedy The Importance of Being Earnest is one of warmth and laughter – a chance
Hal Chambers’ fresh, contemporary and pacy staging of Shakespeare’s play of pageantry and patriotism takes a hard look at the ugliness of
In The Reality, a one-woman, two-character play by Uruguayan playwright Denise Despeyroux, Maite Jáuregui plays identical twin sisters. One appears live on
Written at the height of the suffrage movement in 1913, St John Ervine’s Jane Clegg contains echoes of Ibsen’s A Doll’s House.
In 1901, when Anna Edson Taylor, a widowed 60-something teacher on the brink of destitution, became the first person to go over
Few shows can be more highly gendered than The Marvelous Wonderettes, The design, by Emily Bestow, is ultra-feminine: the four young female
Inspired by an 18th-century ballad, the titular Maggie May in Lionel Bart’s 1964 Liverpool-set musical is the archetypal dockside ‘brass’ with a
Phil Willmott’s elegant production relocates Shakespeare’s play to the Edwardian British Raj and makes Othello a conflicted collaborator in the British army.
Jack Cole might not be the best remembered choreographer from Hollywood’s golden age, but he was an innovator in his day. He
In terms of its subject matter, George and Ira Gershwin’s musical satire Strike Up the Band is as cheesy as it gets.
In the mid-nineteenth century, the site occupied by Battersea Arts Centre was the home of Wandsworth and national heroine Jane ‘Jeanie’ Nassau
Aimee Stuart was one of many critically and commercially successful female interwar playwrights who have since been forgotten. Her 1940 romantic comedy
Christmas wouldn’t be Christmas without an adaptation of a much-loved literary classic or two. Private Eye journalist Rachael Claye’s adaptation of Louisa
With Sybil Thorndike as its patron, Leatherhead was once home to a thriving repertory theatre, but has since struggled to rebuild its identity.
The centenary of the end of the First World War offers the ideal opportunity to look at this period of history from
Writer/director Katharine Armitage’s adaptation of Frankenstein – a site-specific promenade but not all that immersive production in spite of being billed
James Purdy isn’t amongst the better-known figures of 20th-century American literature but his work was highly esteemed by Dorothy Parker, Tennessee Williams,
In Hal Coase’s adaptation of Virginia Woolf’s 1925 novel, post-First World War London is full of noises and voices, as evoked by
“I come from the people, they need to adore me / So Christian Dior me” demands Eva Peron as her publicity team
The Victorians aren’t usually renowned for brevity. These three comediettas (A Winning Hazard, Allow Me to Apologise and Orange Blossoms) by J.P.