Latest Articles - Page 19 of 684

21Mar

By Jessie MartinNo Comments

Scotland

The Ladykillers – Church Hill Theatre

The Ladykillers, based on the 1955 film, is a kitchen-sink meets gangster comedy play written by Graham Linehan in 2011. While this adaptation is surprisingly a contemporary work, Edinburgh People’s Theatre captures all the dry, yet subtly slapstick, and indisputably British charm of the original film. Performing at the Church Hill Theatre this week, The Ladykillers showcases the typical domestic dramedy style that Edinburgh People’s Theatre seem to gravitate towards. And it’s no wonder why they often choose this style of play, as it certainly compliments their cast. Val Lennie plays the very proper, yet slightly befuddled Mrs Wilberforce, who has somehow managed to house and aid a gang of vicious criminals with no knowledge of it. Lennie is a strong lead, pla...

21Mar

By Brian MaddenNo Comments

North West

Waiting for Godot – Liverpool Playhouse

Dominic Hill’s revival of Waiting for Godot, seen here at Everyman Theatre, reminds you why this play still divides audiences' decades after its premiere. Samuel Beckett’s writing can feel elusive and, at times, deliberately opaque - but in the right hands, it becomes something quietly powerful. The production opens on a stark, desolate set designed by Jean Chan. A fractured landscape stretches across the stage, dominated by the familiar solitary tree, here emerging from the wreckage of an abandoned car. It’s a world that feels worn down and forgotten, reinforcing the sense that time has stalled completely. At the centre are Vladimir and Estragon, played by George Costigan and Matthew Kelly. Their performances carry the production. There’s an ease between them that never feels theatr...

21Mar

By NewsdeskNo Comments

Yorkshire & Humber

Living -The Crucible Playhouse

Sheffield Theatre’s latest production ‘Living’ is the ambitious brainchild of local playwright Leo Butler, chronicling the life of a young family who move into the Burngreave suburb of the city and how politics shapes their lifestyle, relationships livelihoods and belief systems. It’s unflinching and bold, and this is a production long to live in the memory of those fortunate to see it. Sarah Beaton’s set design is simple yet formidable. There’s an impermanent quality to the wooden furnishing of the space that evokes the required domesticity needed for the play to operate within as well as a timeless quality that permits jumping between decades. Projection is used to establish time as well as more dynamic functions which are used with a careful consideration for their artistic merit and...

21Mar

By Paul WilcoxNo Comments

North West

Under Milk Wood – Theatr Clwyd

For a Welsh theatre marking its 50th anniversary, Under Milk Wood is both an obvious and a risky choice. Dylan Thomas’s “play for voices” is so bound up with its own mythology—its lyrical density, its association with Richard Burton—that any staging must negotiate the tension between fidelity and reinvention. Kate Wasserberg’s production does so with intelligence and flair, even if it occasionally brushes up against the limits of the text itself. Written for radio and first broadcast in 1954, Thomas’s portrait of a day in the fictional Welsh village of Llareggub (read it backwards) remains a defiantly literary work: episodic, associative and rich to the point of saturation. Its comparison to Thornton Wilder’s Our Town is not misplaced, but where Wilder offers clarity and restraint, Thom...

21Mar

By Kira DanielsNo Comments

London

Summerfolk – National Theatre

Does a vacation sound nice? Would a countryside retreat relax you? Would you be able to take your mind off of work or the news or the fact that the waitress delivering your sandwiches hates your guts? Summerfolk, an adaptation of Maxim Gorky’s 1904 Dachniki, poses all of these questions as gracefully as a studio photographer on family portrait day with a set and costumes by Peter McKintosh very much invoking that particular environment. An array of variously Russianified white chemises and linen suits stand in stark contrast to the woody green of the deconstructed dacha set that only vaguely implies era or country. Adapted by Nina and Moses Raine for a predominantly British company and directed by Robert Hastie for the English audience of the National Theatre this production is all over th...

21Mar

By Dylan MooneyNo Comments

Scotland

Saint Joan – Traverse Theatre

George Bernard Shaw’s Saint Joan is reimagined by writer/director Stewart Laing in a risky new version influenced heavily by an unproduced screenplay by Shaw. While this decision offers a unique take on theatrical adaptation, one must question whether this is the right form for a stage production. This version places Joan firmly at the center of the action during the Hundred Years War, showcasing her rise and eventual downfall as a soldier turned saint. With a strong focus on gender and the power of youth, Saint Joan aims to remind us that anyone is capable of making change. However, the play's structure, which moves away from familiar theatrical conventions, feels disjointed. Narrative is spoken as though direction in a screenplay, with reference to close ups and camera tracki...

20Mar

By Zain RussellNo Comments

London

Oh, Sister Mary! – Arches Lane Theatre

Oh, Sister Mary! is a delightfully entertaining new cabaret performance that introduces audiences to the unforgettable character of Sister Mary, a spirited nun from Soho, London. The show, brought vividly to life by the exceptionally funny Tim McArthur, combines storytelling, song, and audience interaction to create a thoroughly immersive and joyous experience. From the moment Sister Mary steps onto the stage, it’s clear that this is no ordinary cabaret. Through a series of amusing anecdotes from her time as a nun, Sister Mary takes the audience on a journey filled with witty observations, cheeky innuendos, and laugh-out-loud moments. Tim McArthur’s impeccable comedic timing ensures that each story lands perfectly, drawing constant laughter from the audience. Whether recalling the quirk...

Tina: The Tina Turner Musical – Leeds Grand Theatre

20Mar

By Phoebe Olivia Sian HobsonNo Comments

Yorkshire & Humber

Tina: The Tina Turner Musical – Leeds Grand Theatre

This show is more than good for the soul, an explosive and powerful performance was put on display last night at Leeds grand theatre, and we have Elle Ma-Kinga N’zuzi to thank for it. Completely engulfing her role as Tina/Anna Mae from her voice, accent, style, right down to her on stage presence and iconic dance moves. She had every member of the audience under her spell, thinking that they were truly in the presence of Tina herself. Photo: Johan Persson Picture this glitter, tassels, bright lights, a live band, backing dancers and an upbeat audience, a vibrant and infectious atmosphere combined with Tina turner’s number one hits. This is what it looks like on the surface, but executive producers Tina Turner herself and Erwin Bach work hard to demonstrate Anna Mae’s life on a deeper...

A Play, a Pie, and a Pint: The Swansong – Traverse Theatre

20Mar

By Jessie MartinNo Comments

Scotland

A Play, a Pie, and a Pint: The Swansong – Traverse Theatre

In a continuation of this year’s Spring season of A Play, A Pie, And A Pint, The Swansong made its way to The Traverse theatre this week. This is a musical play that sees a young woman on the brink (Lydia played by Julia Murray) take to her local duck pond with a plan to end her life. As she washes her sorrows away with a bottle of gin, she finds company in an unlikely companion - a beautiful swan (Paul McArthur). The Swan tells her he has the power to end her life as soon as she snaps her fingers and truly means it. Hesitant to let her go ahead with her plan, The Swan takes Lydia on one last night of adventure, and on this night, Lydia seems to regain the hope she had lost. Set against the beautiful compositions of Finn Parker, we are taken along to piano bars, ...

20Mar

By Michelle KnightNo Comments

London

YENTL – Marylebone Theatre

Yentl is synonymous with the 1983 musical featuring Barbara Streisand which told the story of a Jewish girl seeking an education, decides to disguise herself as a boy and enters an orthodox school where she falls in love with Avigdor her classmate. All is going well until Avigdor’s fiancée falls in love with Yentl. This matrix of deceit, lies and romance is crystallised in Abrahams, Hearst and Klas writingandproduction of Yentl. This play forms part of the Kadimah Yiddish Theatre’s centenary celebration and their “commitment to sharing the richness of Yiddish language and Jewish culture”. Straight from the Sidney Opera House to its premier in London. There are no surprises that this play’s hybrid dialogue is English and Yiddish which is aided by projected readable subtitles on the se...