There can’t be many places better suited to a Dickensian tale than York, and so it proves with Nightshade Productions’ take on A Christmas Carol, which starts at The Shambles and follows a route to an empty shop, repurposed as Scrooge’s home.
The season of black comedies by European playwrights at the Ustinov in Bath has been a notable triumph.
Earlier in the year, in the warren of rooms beneath Shoreditch Town Hall, Philip Wilson adapted a series of Philip Pullman’s versions of the Grimm Brothers’ fairy tales; this second collection of tales, which has been relocated to the equally atmospheric Bargehouse on the South Bank, is bigger in scale.
This version of ETA Hoffmann’s story provides an entertaining world of mice catapaulted out of holes, swans on roller skates, a magnificently terrifying multi-headed, red-eyed mouse (well done, puppet designer Max Humphries) and a tour de force scenic surprise when the whole stage is revealed in Act II.
Never my favourite ballet, Marius Petipa’s Don Quixote has always struck me as inexpressibly dull.
With 10 dancers, including one guest, stable management, and Arts Council funding that’s escaped the recent cuts, more is expected of Phoenix Dance Theatre than in its recent past.
Robin and his family have to move from their idyllic rural life to one in the big city, and understandably the young boy doesn’t want to go.
This year West Yorkshire Playhouse is offering an ambitious Christmas programme including the major musical White Christmas, a classic Roald Dahl for older children in James and the Giant Peach, plus Raymond Briggs’ Father Christmas for three to six-year-olds.
It is so fitting that one of Sylvie Guillem’s penultimate performances (she announced her retirement at the beginning of this month) should be a work of such personal effect.
Once first arrived in the West End in the immediate juggernaut wake of The Book of Mormon, so it inevitably slipped a little below the radar.
There’s nothing much to like about the people in Daniel Anderson’s strident debut Saxon Court and it nearly drowns under the weight of its own unpleasantness.
During the first of five essays on the voice and radio, recorded in October at London’s British Academy, actor and director Samuel West discusses how unforgiving a medium radio is.
The Gate Theatre’s Who Does She Think She Is? season continues with Suli Holum and Deborah Stein’s cerebral solo show, which premiered at the 2012 Under the Radar Festival in New York.
The hard-working Hotbuckle Productions is on an extensive tour with Persuasion but few venues could be more suitable than Great Yarmouth’s St George’s Theatre, a magnificent Wren-style 18th century chapel which adds so greatly to the atmosphere.
Wendy without Michael and John? Mr Darling without Mrs? Cross-dressing mermaids? One might consider all of this sacrilegious but it could not be more of a salute to JM Barrie’s endearing story.