I think it’s safe to say that when you sign yourself up for a Madeline Gould play, you know that it’s not going to be run-of-the-mill – as proven recently by immersive tea dance Think of England, and Edinburgh smash Ladykiller. For Greyscale, she has teamed up with Joel Samuels to respond to the Aziz Ansari […]Read More Greyscale
You enter The Cage to find a group of lads mucking about in the performance space, classic Manchester tunes blaring and apparently loving life. Amy Guyler’s Digging Deep, however, quickly snatches away this facade when Mossy (Kyle Rowe) reveals that he wants to kill himself; he’s spent a long time thinking about it, and almost gone […]Read More Digging Deep
“…there is no limit to human stupidity.” Arthur Miller’s 1980 play, The American Clock, is packed full of hugely relevant themes – but none stick in the mind quite as much as this thought from Arthur Robertson at the beginning of the final speech. Time and time again we see history repeat itself, yet somehow we […]Read More The American Clock
Irene Sankoff and David Hein’s musical began life following a visit to Gander, Newfoundland on the tenth anniversary of the 9/11 terrorist attacks; it was workshopped the following year, before making its debut in 2013 in Ontario. Several other productions followed (in both Canada and the USA), before it made its Broadway debut in 2017 […]Read More Come From Away
Guest reviewer: Ellen Casey Rattled is a window into a woman unravelling. Em is standing alone (or so she thinks) on a train platform. How she got there – and what she intends to do now that she is – is never revealed to us, but whatever it was, it is interrupted in the strangest way; […]Read More Rattled
Continuing Phil Willmott’s ‘Enemies of the People’ Essential Classics season for 2019 is a new musical, CAN-CAN!, following on from Arthur Miller’s An Enemy of the People. It is soundtracked by the music of Jacques Offenbach and his contemporaries, and has a limited run at the Union Theatre, prior to a new production of Shakespeare’s Othello, […]Read More CAN-CAN!
Guest reviewer: Kirsty Herrington Katy is a fifteen-year-old girl with her whole life ahead of her. She’s doing well at school (even if she can’t quite see the point of it), she has plenty of friends and she’s dating a boy she believes to be the love of her life. But then her mum’s boyfriend […]Read More bottled.
There is a danger in taking well-known & beloved works of literature and adapting them for stage or screen – just ask Sarah Phelps, who recently bore the brunt of conservative Agatha Christie fans’ ire for not simply recreating previous screen versions of her chosen stories. Bram Stoker’s Dracula is one of my favourite novels of all […]Read More Dracula
Following a successful 2018 season, with the return of Edward II and new shows Lord of the Flies & A Midsummer Night’s Dream, Lazarus Theatre are continuing their Greenwich Theatre residency for another year. Their opening play is a new adaptation of Shakespeare’s The Tempest, directed by artistic director Ricky Dukes. Prospero and her son […]Read More The Tempest (Lazarus Theatre)
Guest reviewer: Ellen Casey The Good Landlord starts with the promise of the impossible: a flat in central London for £800 pounds all in. Just the mention of this tempting offer raised a knowing chuckle from the audience, because we all know – there’s no way this doesn’t come with strings. These particular strings soon become […]Read More The Good Landlord