From The Box Office reviews Matthew Lopez’s The Inheritance. Directed by Stephen Daldry, this West End production is a triumph. Read our review here!
Based on the 1980s cult classic, Heathers The Musical is your typical story of a high school nobody who becomes a somebody under the wings of the popular girls. Following a hugely successful run at The Other Palace, Heathers The Musical officially opened on the West End last week. Read our thoughts here!
After repairs and renovations to the Battersea Arts Centre, Missing has been reintroduced as the opening of the Phoenix Season, and what an opening it is
It’s a play that has been performed to death, with a plethora of West End adaptations in the past decade alone. Enter Michael Fentiman, the director who has hit the nail square on the head in the latest production of this classic…
Reviews are pouring in for The King And I, hailing it as a five star unmissable show. Our very own From The Box Office blogger has her say on the latest London Palladium production…
What did our critic make of Eugene O’Neill’s soul-searching examination of claustrophobic family dynamics, drug and alcohol dependency? Is this Lesley Manville’s greatest ever role?
Tired of unrelentingly bad news? Need some sunshine to drive away the rain? Then follow the rainbow to the Arts Theatre, currently home to the sensationally funny and deeply moving Olivier Award-winning transfer of Rotterdam. With its central themes of transgender identity, sexuality and non-linear relationships, I must admit that I expected an evening of tense, serious theatre – not a bit of it.
Here’s why you should see David Tennant in Patrick Marber’s Don Juan in Soho, currently playing at the Wyndham’s Theatre.
You’d struggle to find a stronger cast anywhere in the West End, and when the show succeeds it exposes a raw humanity that most of us try our best to hide.
We review The Kite Runner at the Wyndham’s Theatre. A warts-and-all story of a privileged but damaged life in Kabul, revealing a side to Afghanistan that few Westerners see.
If you love your musicals Christmassy and camp, pop on a scarf and head south to Stockwell, where a passionate group of amateur performers is taking on Alan Menken’s A Christmas Carol at South London’s lovely Lost Theatre.
This Christmas Carol may not stick faithfully to the spirit of the original story, and the tunes may not be from Menken’s top drawer, but this version, with a book by Mike Ockrent and Lynn Ahrens (who also wrote the lyrics), does have an undeniable – if schmaltzy – charm.
We look at the most awe-inspiring shows opening in London Theatres in 2017 and how you can find the best tickets.
If the thought of “Peace, Love and Goodwill to All” fills you with horror, you just might need a trip to Balham’s Theatre N16 where Simon Stephens’ play, Christmas, puts a brutally honest, deliciously cynical twist on the holiday season.
Set in a bleak East End pub where Frank Sinatra looks down from the wall and landlord Michael (Brendan Weakliam) is up to his eyes in debt, the first punter to arrive is casual labourer Billy (Jack Bence). Billy still lives with his mum and although he thinks f**king is an adjective, his limited vocabulary still has a sardonic wit – “I couldn’t, Michael, help but notice the striking economy of your Christmas decorations”. It’s not just the decorations that are sparse – so are the customers.
When I was eight I remember subjecting my family to a puppet version of Cinderella, performed entirely from behind the settee. Theatre N16 have created a not dissimilar effect with their Christmas family show, The Snow Queen which runs until 22nd December. But rather than feel cheap, its home-made special effects and seemingly non-existent production budget lend it a charm so utterly beguiling that no lavish pantomime could possibly hope to compete.
When Sam Shepard’s Buried Child premiered in the US in 1978 it propelled him to national celebrity. New Group’s towering new production now arrives at The Trafalgar Studios from an acclaimed Off-Broadway run and feels as important and shocking today as it must have done nearly 40 years ago.
The Wind in the Willows is the latest collaboration between Julian Fellowes (book) and song-writing team George Stiles and Anthony Drewe. Their adaptation of Half a Sixpence is enjoying rave review in the West End, and George and Anthony are no strangers to creating hit shows for the whole family to enjoy having previously won an Olivier Award for Honk! (which famously beat The Lion King to the top honours) and also written new songs for Mary Poppins.
The Wind in the Willows starts promisingly with company number Spring, its richly layered harmonies making full use of the large cast (and bearing more than a passing similarity to Riverdance).
There is a gentle elegance to Half a Sixpence, the latest retelling of H G Wells Kipps: The Story of a Simple Soul, which American tourists will adore. It has oh-so British charm by the bucket and spade and leading man Charlie Stemp truly deserves every plaudit heaped upon him following the show’s out-of-town reviews in Chichester.
School Report – Autumn Term 2016
Dear Mr & Mrs Lloyd Webber
Thank you for asking for an update on Andrew’s progress this term. Andrew is an extremely capable pupil and clearly enjoys the movie “School of Rock”, so we were very pleased when he decided to adapt it for the stage as his most recent school project. The whole school had very much enjoyed his earlier projects The Phantom of the Opera and also the one about the cats.
Our review for Glitter Punch discovers a world of vulnerability and forbidden love where the boundaries of right and wrong are crossed – but to what cost?
They say bad things happen in threes – and that was certainly true in 1997, when Broadway audiences […]