It’s hardly an original idea: the spectacle of plays going wrong have long provided comic delight from Shakespeare’s A Midsummer Night’s Dream to Michael Frayn’s Noises Off, but seldom has a theatrical evening been so utterly and entirely sustained by it.
A verbatim script made up of interviews and film dialogue spoken by Tom Cruise is the basis for this surreal cross-examination of celebrity culture, fame, and the modern man.
Mike Bartlett’s wonderfully imaginative “future history play” is the fourth West End transfer for the Almeida Theatre inside a year.
In terms of noise, this show could well go on to generate the loudest laughs in town when, later this month, it joins an ambitious line-up of stand-ups as the main theatrical offering at this year’s Liverpool Comedy Festival.
A 1980 Broadway hit about PT Barnum, the 19th-century circus entrepreneur and self-styled “greatest showman on earth”, has now been revived, co-produced and co-revised by Cameron Mackintosh, who, according to his programme biography, has produced more musicals than anyone else in history.
Working alongside other producing houses remains a key mantra at the Bristol Old Vic, partly driven by economic necessity, but more importantly from a desire to produce big works at full throttle.
This gentle but probing piece of miniature theatre for under-fives wittily explores the concepts of sharing, cooperation and collaboration, using the seesaw as a central metaphor: you cannot enjoy a seesaw on your own.
The title of Becky Mode’s short, fast, sketch-like play refers to the reservations diary of a fashionable New York restaurant, but ‘fully committed’ also describes what the show requires of its virtuoso solo performer.
The term ‘community theatre’ is often the kiss of death for many ostensibly noble productions.
Artistic autobiography, entertaining anecdotes, lashings of well-spoken Shakespeare, meta-theatrical commentary and the opportunity to spend 90 minutes in the company of one of the most charming of veteran actors, all filtered through inventive verbal and physical clowning, make this return of a 2013 production (on its way to a national tour) very welcome.
For his 78th play in his 75th year Alan Ayckbourn delivers five short plays, designed to be performed in any order.
Previously a Tony Award-nominated Broadway hit, Ian McElhinney revisits a West End favourite he first directed 15 years ago, re-acquainting audiences with this popular play by Belfast-based playwright Marie Jones.
The gifted song and dance kids of High School Musical exist poles apart from the disadvantaged street-savvy teens in Willy Russell’s musicalised version of his 1976 television play.
I would say that this new production celebrates the birth, 120 years ago, of JB Priestley.
The American dream unravels dramatically in Sam Shepard’s combustible masterpiece, revived in a constantly alert, eventually scorching production that was first seen at Glasgow Citizens’ last year and now transfers to London.