This straightforward showcase gives us the work of 28 students in 15 duologues so most actors appear only once.
This, the first production at the handsome new London Theatre Workshop in Fulham, is a show replete with textures and richly evoked emotions.
Don’t be put off by the salacious title; this is a witty, pacy 1970s bedroom farce delivered with impeccable comedic timing on an excellent split stage set.
In its 35th anniversary year, and for its Beginnings Season, this venue is staging the British premiere of Spanish playwright Rodrigo Garcia’s monologue, in which an unnamed speaker is so exasperated by the economic and emotional crises of everyday life that he decides to cash in his savings and go on a bender.
Martha Leebolt looks ravishing in the title role, her power and beauty are captivating.
Writer Matt Osman questions the nature of humanity, grief and suspicion in this play, in which werewolves terrorise London.
The past few years has seen a meteoric rise for the south-west London raised son of former theatrical agent Michael - now a willing sidekick/stooge - culminating last year with him being crowned King of Comedy at the British Comedy Awards.
Joining operas by Britten and Tippett on ETO’s national tour is Mozart’s philosophical comedy, due to play some 17 venues from Truro to Perth between now and the end of May.
Visitors is that increasingly rare thing on the fringe - a genuine piece of no-fuss naturalism.
“Things are impossibly lyrical”, we hear in the title song to Do I Hear a Waltz?, a deeply bittersweet 1965 Broadway musical about a Venice-based holiday romance that turns sour.
Lazarus Theatre continues its repertoire of deconstructed classics with this adaptation of Shakespeare’s Richard III by Gavin Harrington-Odedra, who also directs.
Thunder rumbles, blackboards, doubling as flats on castors, whizz about and hideous masked creatures menace the audience.
Marking the centenary of the outbreak of the First World War, this terrific revival of Simon Reade’s stage adaptation of Michael Morpurgo’s children’s book is a timely reminder of the sacrifices made by all those who endured the conflict, whether a front line soldier, a home front civilian or, as in the case of teenage Private Tommo Peaceful, a volunteer recruit sentenced to death for cowardice.
The full name of this play is We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known As Southwest Africa, from the German Sudwest Afrika, Between the Years 1884-1915 and it proves as audacious and self-aware as its title suggests.
The opening scene of David Lindsay-Abaire’s tough yet tender play Good People is set in an alley behind a dollar store in South Boston.