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.
Against the backdrop of the Curve’s state-of-the-art theatre space, director Paul Kerryson places television monitors relaying ads from the 1960s - the perfect setting for this excellent musical, and highlighting the influence of mass media against the stranglehold of social conformity.
Writer Deborah McAndrew skilfully captures the language and logic of the period with this play which takes its title from a line in Philip Larkin’s poem MCMXIV - a reference to the carefree atmosphere felt across Britain as a generation of young men happily queued to enlist for the trenches.
In a quite fabulous opening scene, musical director and composer Heather Christian slowly walks barefoot through a swamp, intoning the harsh sounds of dustbowl America as she goes.
In the jukebox musical mould, Tom is interspersed with live rock and roll songs and convincingly tells the story of Tom Jones’ early years - his marriage to his childhood sweetheart Linda (15 years old and pregnant, and still his wife today) through the valleys to his first Number One hit.