The basement of the Leicester Square is transformed into a Victorian parlour-cum-bordello to provide the perfect setting for Linnie Reedman’s retelling of Wilde’s gothic fable.
Unlike the big budget West End shows this legendary satirical musical revue so cleverly lampoons, the formula behind Forbidden Broadway is four performers and a piano, a great conveyor belt of inspired props and costumes and, last but not least, some very witty writing.
It’s quite something to see 4,700 children in ten different coloured T shirts seated in colour blocks, especially in the vastness of the 02 Arena, when they all open and twirl umbrellas or brandish torches.
The airy canvas tent, wandering players and the strumming of a ukulele gives the dreamy opulence of a twenties summer garden party.
This world premiere of Heidi Thomas’ new play about the last days of the Romanov Family in captivity in Ekaterinburg appears to be accessible at a number of different levels - as a drama documentary, as an analogy to the more modern Stockholm syndrome, even as a love story - but it makes for extremely good theatre.
Offenbach’s classic operetta joins the Holland Park repertory in its compact 1858 version, wittily translated by Jeremy Sams.
With John Copley’s traditional staging still revived regularly at Covent Garden, Elaine Kidd and her team plainly felt they could afford to radicalise Puccini’s sure-fire hit.
The story of Ratty, Toad, Mole and Badger is brought to life by Heartbreak Productions and includes a fine display of dysfunctional machines.
David Bintley’s Galanteries is the first piece of this triple bill, originally performed in 1986 - long before BRB was established.
First seen in 2005, Mario Martone’s production plays Verdi’s opera in the so-called Boston setting imposed on him by censors in Rome in 1859, as opposed to the Swedish original he had in mind at the start - the ultimate source for the plot was the real assassination of King Gustav III of Sweden at a masked ball in 1792.
Do not be fooled by claims you’ll be thrust into the champagne-sodden world of liberated, post-war France.
Rodgers and Hammerstein’s Oklahoma!, premiered on Broadway in 1943, not only marked the start of their fabled collaboration but is also widely credited with revolutionising the musical form itself, re-writing the template of their construction and execution.
Nina Bawden’s novel about 12-year-old Carrie and her younger brother, evacuees in war-time Wales, was one of the outstanding children’s books of the 20th century.
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