dfp_header_hidden_string

Get our free email newsletter with just one click

Top 5 theatre shows to see this week (November 19-25)

Director Simon Stokes (left) with cast member Hannah Traylen in rehearsal for The Kneebone Cadillac. Photo: Emily Appleton Director Simon Stokes (left) with cast member Hannah Traylen in rehearsal for The Kneebone Cadillac. Photo: Emily Appleton
by -

The Kneebone Cadillac – Theatre Royal Plymouth

Simon Stokes’ last production at Theatre Royal Plymouth will be the new play by Carl Grose, recently appointed deputy artistic director of Kneehigh. It opens on November 19.

Summer and Smoke – Duke of York’s Theatre, London

Rebecca Frecknell’s astonishing production of Tennessee Williams’ slippery play gets a well-deserved transfer to the West End. Patsy Ferran is a revelation as anxious minister’s daughter Alma. It opens at the Duke of York’s on November 20.

Summer and Smoke review at Almeida Theatre, London – ‘a stunning production’

Superblackman – Battersea Arts Centre, London

Lekan Lawal – winner of The Stage Debut Award for best director in 2017 – presents a new piece about race and mental health in Battersea Arts Centre’s restored and reopened Great Hall. It opens on November 20.

Battersea Arts Centre’s Lekan Lawal: Theatres need more than productions to serve communities

The Maids – Home, Manchester

Lily Sykes directs Jean Genet’s classic play with an all-male cast. Jake Fairbrother and Luke Mullins play the maids and Danny Lee Wynter plays their employer. Home has been specially reconfigured in-the-round for the production, which opens on November 21.

Danny Lee Wynter and Luke Mullins in rehearsal for The Maids.

Dick Whittington – Lyric Hammersmith

The Lyric Hammersmith pantomime is always a treat: community orientated and gently subversive. Jude Christian and Cariad Lloyd have penned this 10th-anniversary production. It opens on November 24.

Luke Latcham (centre) and the cast in rehearsal for Dick Whittington. Photo: Tristram Kenton

We need your help…

When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.

The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.

We are fully independent, but this means we rely on revenue from readers to survive.

Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.

loading...
^