30 October 2014 Last update less than 2 hours ago

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Latest reviews

The Witch of Edmonton Swan Theatre, Stratford-upon-Avon

Theatre  The fourth and last offering in the Royal Shakespeare Company’s Roaring Girls season of early modern plays with strong female roles is a work not seen in Stratford since 1981.

Jonah and Otto Park Theatre, London

Theatre  This revival, of a play first seen at Manchester’s Royal Exchange in 2008, reunites playwright Robert Holman with director Tim Stark, who directed Rafts and Dreams as part of the Holman season at the Royal Exchange in 2003.

La Boheme Coliseum, London

Opera  One of the first so-called verismo operas, there is not usually a ‘real-life’ feel to La Boheme - something Jonathan Miller’s 2009 production attempts to address.

‘Tis Pity She’s a Whore Sam Wanamaker Playhouse, London

Theatre  The Sam Wanamaker Playhouse again comes into its own with John Ford’s brooding, blood-washed tale of incest from the 1630s to open its second season.

Sunny Afternoon Harold Pinter Theatre, London

Theatre  “Will they still be playing it in 30 years’ time?”, asks Ray Davies of his song Sunny Afternoon when it is first released in 1966.

Jump Peacock Theatre, London

Dance  Imagine a cross between a Jackie Chan comedy and a Tom and Jerry cartoon and you are halfway to the physical slapstick of Yegam Theatre’s mad Korean panto.

Elves and the Shoemaker Audrey and Stanley Burton Theatre, Leeds

Theatre  Trampolining elves, magical dancing shoes and a jaunty, hummable, score are among the successful ingredients for this new slant on the old Brothers Grimm fairytale.

Grand Guignol Southwark Playhouse, London

Theatre  In 1903 the Theatre du Grand Guignol opened in Paris specialising in plays featuring very physical acts of horror and extreme madness.

Sweeney Todd Harrington’s Pie and Mash Shop, London

Theatre  I’ve seen Sweeney Todds large and small from the Royal Opera House to the Union Theatre, and now from Broadway to Tooting Broadway.

Bondagers Royal Lyceum Theatre, Edinburgh

Theatre  Forthright and never sentimental, director Lu Kemp looks to the poetry of Sue Glover’s play about six women working a Borders farm in 19th century Scotland, to find her motivating force.

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