BWW Review: COUGAR, Orange Tree Theatre
Possession, power and control, with climate change thrown in.
Aliya Al-Hassan - Page 95
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It is difficult to overestimate how popular Notre Dame de Paris is in France, leaving audiences in raptures for twenty years.
BWW Review: MANON, London Coliseum
Manon is not a ballet for the #MeToo era.
BWW Review: TOTEM, Royal Albert Hall
It is easy to be wowed by Cirque du Soleil; the acts themselves are often utterly thrilling and defy any expectations of human strength, dexterity and flexibility.
BWW Review: COMING CLEAN, Trafalgar Studios
Playwright Kevin Elyot is best known for his brilliant AIDS-era play My Night With Reg, but after being revived at Islington's King's Head Theatre, his debut play Coming Clean has now transferred to the Trafalgar Studios, exploring male gay culture, fidelity and love set in London in the early eigh
BWW Review: SWAN LAKE, London Coliseum
After a rather pedestrian version of Tchiakovsky's iconic Swan Lake by the St Petersburg Ballet at London's Coliseum in the summer, ballet fans are eager for a more immersive and emotionally charged version from the English National Ballet to kick-start 2019.
BWW Review: THE NUTCRACKER, Royal Albert Hall
London is already blessed with two outstanding productions of the Christmas ballet The Nutcracker.
BWW Review: CIRCUS 1903, Southbank Centre
With extraordinary feats of bravery, strength and skill, the appeal of old-fashioned circus is not hard to understand.
2018 Year in Review: Aliya Al-Hassan's Best of Theatre
What a bizarre year 2018 has been.
BWW Review: HANSEL & GRETEL, Rose Theatre
The perfect family show at Christmas is a big ask for theatres.
BWW Review: NUTCRACKER, London Coliseum
London is lucky enough to have three different productions of Nutcracker playing this year.
BWW Review: PETER PAN, Richmond Theatre
Alexander Pope's poignant quote 'To wake the soul with the gentle strokes of art' hangs above the stage of the beautiful Richmond Theatre to remind us of the potent power of art and theatre.
BWW Review: A CHRISTMAS CAROL, Arts Theatre
Was there ever an actor more suited to perform a one-man show than Simon Callow? Add in the evocative and mellifluous writings of Dickens at Christmas time and you have the recipe for a show overflowing with festive goodwill.
BWW Review: THE DOUBLE DEALER, Orange Tree Theatre
William Congreve's rarely performed Restoration comedy, The Double Dealer, is an interesting choice to be revived at Richmond's Orange Tree theatre and, for some, will be a welcome relief to the pantomimes and doggedly 'festive' productions at this time of year.
BWW Review: A CHRISTMAS CAROL, Old Vic
If you are struggling to get into the festive spirit this year, a visit to London's Old Vic theatre is highly recommended.
BWW Review: LA BOHEME, London Coliseum
The best versions of La boheme are simple enough to let the genius of Puccini's opera shine, rather than distracting the audience with quirky updates and subliminal messages.
BWW Review: DIRTY DANCING, New Wimbledon Theatre
As one of the most famous coming-of-age films, the story of Dirty Dancing is loved by many.
BWW Review: DON CARLOS, Rose Theatre
Back in 2005, Friedrich Schiller's 18th century offering Don Carlos won rapturous reviews when it transferred to the Gieldgud from Sheffield's Crucible.
BWW Review: STILL NO IDEA, Royal Court
In 2010, Lisa Hammond and Rachael Spence created a show called No Idea based entirely on what the general public said they should make a piece of theatre about.
BWW Review: AMADEUS LIVE, Royal Albert Hall
If there was ever a film to screen with a live orchestra and choir, it would be Peter Shaffer's multi-award-winning Amadeus.
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