Edward Gant’s Amazing Feats of Loneliness is Anthony Neilson’s homage to the garish and cruel spectacle of the nineteenth-century freak-show.
London Theatre Blog has teamed up with Uk Tickets to offer readers of this blog the chance to win two tickets to a West End show of their choice.
If you’re looking for a big stage spectacular à la Wicked or The Sound of Music, you’ll be disappointed, but if you like your Rodgers and Hammerstein understated and a little dark, then this show will certainly appeal.
Google’s opinion on the performance is the only one that counts in this instance. The backbone of new media is not the content but the code.
An old-fashioned confection of kindly wish-fulfilment, Country Magic appeals to the enduring desire that small miracles might somewhere, and somehow, occur.
Story and structure are well-conceived, but without Rebecca Stevenson’s ability to change from schoolgirl Gracie to a prematurely grown-up woman in a heartbeat...For Once I Was would remain just that – an interesting story well told.
A Place at the Table has a couple of rock-solid concepts - the subject matter and staging - at its heart, but glommed around them is a mass of shiny little distractions that serve only to obscure the truths verbatim theatre is supposed to expose.
That Night Follows Day was commissioned by Flemish theatre company Victoria and written and directed by Tim Etchells as part of a series of productions performed by children for adults.
Though Death and the King's Horseman was programmed well before England People Very Nice opened and the accusations began, in context it feels like a comforting reassurance that the National Theatre does not condone racism.
The company are obviously talented and brimming with energy, but this patchy adaptation lacks both pathos and pace