Selma Dimitrijevic flaunts the deceptions of her artfully cruel production of Gogol’s The Gamblers for Greyscale and Dundee Rep.
In a mixed programme largely made up of conceptual contemporary choreography, Harlem Dream is an enticing offering.
It took Hairspray, the 2003 Tony winner for best musical, five years to reach London and now Memphis, the 2010 winner, has taken the same amount of time to transfer here since it first opened on Broadway in September 2009.
A work that has won a Moliere - the top theatre award in France - for best play of 2014 deserves a fine cast and a top-notch translator; the Ustinov has laudably provided both for the second of its trio of black comedies in new translations, which add up to another imaginative season from artistic director Laurence Boswell.
This two-hander set in modern-day South Africa is a microcosm of a society in flux.
Surprisingly, Abigail’s Party is the first Curve production to be played in the round, following an inspired choice to rip out the seats in the studio space.
For a decade-long run that straddled the 1940s, Tommy Handley’s radio series It’s That Man Again kept Britain laughing, broadcasting, as the announcer proclaimed each week, from “somewhere in England”.
Shortlisted for The Stage 2014 Award for fringe theatre of the year, Brass Works Theatre has travelled a considerable distance in its first two years as the only professional company in south Gloucestershire.
Towards the end of his show Broadway State of Mind, US actor and singer Gregg Edelman says how much he loves “mixing it up” - in other words, having a career that has brought him success via Broadway, television, film and cabaret.
When Richard Brinsley Sheridan first staged The Rivals in 1775 it wasn’t an immediate success, and Selina Cadell’s new production at the Arcola takes some time to get going as well (at a running time of roughly three hours it has plenty).
The Duke of York’s Theatre has been turned into damp, smelly swampland.
The second of Salisbury Playhouse’s autumn season in-the-round productions is much more successful than the first, breathing fresh air into Rattigan’s linked one-acters.
This show will sell tickets purely because of the Milkshake brand.
When I first reviewed The Scottsboro Boys at its British premiere last October for The Stage, I expressed doubts that it would have a commercial life beyond the Young Vic, despite being thrilled that London was getting the chance to see it at all.
With the emergence of Andrew Lloyd Webber and Tim Rice in 1970s as major players in a burgeoning musical theatre scene, Elaine Paige was already making a splash in the West End in productions of Hair and Billy.