Surely, 20 years after Riverdance’s heart-stirring cannons streamed into international consciousness on the Eurovision Song Contest, Irish dance has earned the right to explore alternative stories and formats beyond the ‘Irish history lesson’? But whereas other recent dance crazes, such as hip-hop, have moved past simple origin tales, Irish dance seems trapped in a time warp.
Shrek the Musical is the latest in a line of large-scale West End productions (The Lion King and Wicked are others) to tour the UK and Ireland, and on the evidence of this opening in Leeds, it has a pretty good chance of equalling the success of those shows that have preceded it.
Based on a short story by Baghdad-born Hassan Blasim, this play draws our attention to the daily devastation suffered by Iraqis post Saddam Hussain.
Big, bold and just a little scary, this production of Brian Patten’s well-loved book has all the right ingredients to intrigue and entertain.
Originally intended as a last-minute stopgap when a planned production was dropped from last summer’s programme, Bob Eaton’s Liverpool-angled adaptation of John Godber’s ever-popular comedy has turned out to be an example of one surprise success breeding another instant hit.
Although they were made separately, the three solos and one duet that comprise Push are so beautifully integrated that they appear to be a single work, exploded to reveal their individual intricacies.
Since its original Broadway opening in 1935, critics have debated whether Porgy and Bess (composed by George Gershwin, lyrics co-written by his brother Ira and the show’s librettist DuBose Heyward) should be described as an opera or musical.
There is a thrilling restlessness to Benedict Andrews’ production of this American classic.
Baroque opera used to be regarded as a specialist taste, but it can be extremely immediate in its impact when done well.
Lewis Carroll’s Alice in Wonderland provides a wealth of entertaining, unusual characters and situations to equal any Christmas pantomime, and the Cambridge Touring Theatre embraces this to create an enchanting children’s musical.
Set in Germany in the early 1930s, Tony Kushner’s play depicts the fall of the Weimar Republic and the rise of Hitler through the filter of Reagan’s America.
Keswick Theatre set designer Martin Johns gives the cast a headstart in this colourful, mirthful production of Comedy of Errors, with a stunning set that wins the hearts of the audience before a word is even uttered.
A grandmother giant who walks with a stick as high as an elephant’s eye and carries a head full of First World War memories; her 18-ft Little Girl companion who travels along Lime Street on top of an old car; a massive black dog called Xolo - an unlikely tall trio for telling the story of the Liverpool Pals battalions who volunteered for service in 1914 perhaps?.
There’s plenty to commend in this four-hander adaptation of Julia Donaldson’s popular children’s book.
After eight seasons at Hammersmith’s Riverside Studios, the experimental opera festival Tete a Tete has relocated to Central Saint Martins and Kings Place.