The setting of this musical is New York in 1911 and Hollywood in the early twenties when movies were silent and the cinema was magic.
Two men scrape a living on a small Canadian farm in the early seventies.
You would be forgiven for fearing this play was going to be a little contrived from the sound of the premise: it’s set in heaven and centres on the reunion of two lovers who have been separated for 50 years, after the man was killed in action during the Second World War.
This new translation of the 18th-century comedy La Locandiera, by Italian playwright Carlo Goldoni, is brought to life by the sheer exuberance and vitality of the cast.
Searing disco spotlights pierce the mist on stage and the music cranks up a few decibels as the lights begin to spin and twist about the stage.
Combining shocking situations with merry mundaneness, Martha, Josie and the Chinese Elvis is an absolute tonic, as universally appealing as a huge slice of chocolate cake.
Yesterday marks the tenth anniversary of award-winning Israeli choreographer/dancer Jasmin Vardimon’s company.
Within the first five minutes we’ve witnessed a prolonged rape, oral sex and a gay kiss to set the tone for a salacious snapshot of the ‘Mad Monk’s’ final years, as unsubtle and direct as the man himself.
The Club M in Crewe is a well known band venue and the fact that Bigfoot invites a trade only audience, along with the functional feel of the surroundings, combine to make this event a pleasure to attend every year.
Living through the troubled times of civil war between crown and parliament and the birth pangs of empirical science was a personal tragedy for the English philosopher Thomas Hobbes of ‘Leviathan’ fame.
Right at the heart of this new work from John Steinberg and respected television writer/director Ray Kilby is a decent play trying to get out.
Neither intense, thunderbolt love, nor heartbreak, but the place in between should be unpromising as dramatic subject matter.
Tucked away down Oak Street in Norwich city centre, The Talk nightspot - all mirrors, chrome and rich, red cabaret lounge seating - instantly feels right for a showcase when you first walk in.
Played on Laura McEwen’s delightfully ramshackle set, from which all manner of wonders emerge, this version of Pinocchio is unfolded by an apparently hopeless troupe of actors who have lost their wooden puppet, so one of them (Ian Street) has to volunteer for the role.
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