The Tutti Frutti company looks at declining memory in an older person and how we build memories in its deeply moving new play, Monday’s Child.
Sean O’Casey’s dream-like, disjointed 1928 anti-war play was rejected by Yeats’ Abbey Theatre and has rarely been performed since, and on tonight’s showing you can sometimes see why.
Natalie Imbruglia already has a richly varied portfolio of showbiz success - Australian soap star, award-winning pop diva and cinema leading lady opposite Rowan Atkinson - so it is perhaps surprising that this dazzling revival of Alan Ayckbourn’s 1997 dark comedy is her first excursion into UK drama.
Chiefly notable for featuring the stage debuts of the latest two members of the Redgrave and Fox acting dynasties, in Daisy Bevan and Jack Fox, this is an otherwise rather misjudged reworking of Oscar Wilde’s classic novel.
When juggling is just about numbers it can be a bit mechanical, but here the numbers - including two women, four tea sets, seven men, nine chairs and 80 apples - are anything but dull.
In these days of selfies and social networking it’s difficult to imagine just how astonishing the achievements of pioneering film makers Sagar Mitchell and James Kenyon must have seemed.
There is a feeling of foreboding in the early stages of this new production of 20th Century Boy - a biographical, jukebox musical dedicated to the life and career of Marc Bolan - and it’s not caused by the projections of newspaper cuttings reporting the singer’s death at 29 in a car accident more than 30 years ago.
As prolific as ever, Mike Bartlett follows up one new play, Kings Charles III, with this smart two-hander, which begins with a drink-fuelled confrontation between A, a young woman who has just been on an anti-war protest, and her best friend, B, who stayed at home.
While singer/songwriter Amanda McBroom is no stranger to London audiences, this is the first time that she has performed in the capital with husband, the singer George Ball.
James Dacre’s inaugural season as artistic director at the Royal and Derngate continues with Tamsin Oglesby’s new version of George Feydeau’s Le Systeme Ribadier - in which a philandering husband uses his powers of hypnotism to put his wife to sleep while he gads about with another woman.
For once, you are requested to leave your phone on at the theatre.
Scottish Ballet’s revival of Krzysztof Pastor’s Romeo and Juliet sits well with the recent tenure of Christopher Hampson as artistic director.
It’s a slight paradox to put a pair of songwriters who didn’t write for the theatre at the centre of a theatrical entertainment, even if two of the biggest movie hits they scored - Chitty Chitty Bang Bang and Mary Poppins - subsequently migrated to the stage.
The first of two casts takes to the Covent Garden stage in the latest revival, by Daniel Dooner, of Richard Eyre’s production - new in 1994 - of Verdi’s classic.
For a small, fledgling (founded in 2012) and modestly funded dance company, HeadSpace Dance is making progress in leaps and bounds.