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Cinderella

This is a refreshing, modern day Cinderella which still maintains the essentials in the storyline but is cleverly produced for today’s market.
Some of the traditional characters are not missed by their absence and other roles are scaled down to allow more comedy, stunning special effects and even a flying coach and motorbike. Ironically, a superbly trained real horse called...

Aladdin

Not content with gender-swapping as Mrs Bouncer in Cox and Box at the Stephen Joseph Theatre earlier this year, Paul Ryan dons a frock once more in Andrew Pollard’s modern take on the traditional tale of the lad with the magical lamp.
Ryan’s Mrs Darzi is no vulgar, over-the-top, cross-dressing madam, but a woman with a sharp tongue, airs and...

Sleeping Beauty

This isn’t a pantomime that wastes time in getting going. A quick burst of that song with the long title from Mary Poppins by the two-man band and, even before you have time to boo, Carabosse (Louise Travis, who also directs) is having her wicked way.
The show does everything you demand from a panto and does it with verve...

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Hamlet

Hamlet by Harry Venning for week 51, 2014

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In this week's issue

    Exclusively in the December 11 issue of The Stage
    • The Big Interview: "Lighting is about telling a story." Paule Constable reflects on the art of lighting design
    • "We had a man die in a matinee." And other tales of disruptive audience behaviour discussed in the Green Room
    • The National's Treasure Island has been making waves – we interview Byrony Lavery, the writer who brought about its reinvention on paper, and Arthur Darvill, the Broadchurch star filling Long John Silver's boots
    • As she reprises her Portia at the Almeida, Susannah Fielding talks about how Rupert Goold's The Merchant of Venice is back to get its pound of flesh
    • The Stage turns up at the International Theatre Institute's 34th congress in Armenia to find – quite literally – a world of theatre, but no other British delegates. Why?
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