It’s been a few minutes into my wander around this year’s West End Flea Market, and I’ve already heard an excited anecdote about a revival of a 1960s German-language vampire musical.
Broadway veterans Nick Blaemire and Van Hughes begin their show tossing canine plushies into the audience, Oprah-style.
In Midnight at the Never Get, time is not a straightforward thing.
During his near-half century leading the FBI, J Edgar Hoover used illegal surveillance techniques on thousands of Americans allegedly connected with communism, curbed the influence of civil rights leaders, and caused damage to the US labour movement from which it has never recovered.
The culture wars surrounding grooming gangs have never felt more poisonous.
With Rent set to return to the West End in September, now feels like the right time for The Jonathan Larson Project, a retrospective of what the composer Jonathan Larson did before he wrote the classic East Village-set tale of life and love amid the AIDs crisis.
On the surface, Tilly No-Body: Catastrophes of Love has every element of a good one-woman show: a woman’s journey to gaining new agency, a compelling historical hook, and a exceedingly watchable performer.
The New York-based Mint Theater Company specialises in theatrical gems neglected by accidents of history.
At one point, in June 1939, the UK-US ‘Special Relationship’ was defined by the King eating hotdogs on the president’s lawn.
At first Relics seems straight out of a classic, deadpan British sitcom.
The protagonist of Sting, a postdoctoral student named Ash, lives in a divided world.
With its whitewashed walls and actors swanning around in linen suits, inevitably the Globe’s summer staging of Much Ado About Nothing will recall Kenneth Branagh’s Tuscany-set film version from 1993.
“It’s like vultures circling a carcass,” one character in Driftwood says of the uneasy situation in Trinidad a few years shy of independence.
On her deathbed, US playwright Joshua Harmon’s grandmother granted him permission to write a play about their family, on the condition that it be as “brutal and vitriolic” as possible.
Clad in pastel pyjamas and lounging on bunkbeds, two preteen girls discuss the repeated drugging and rape of Gisèle Pelicot.
Latest in the line of blockbuster Cole Porter musicals dominating the Barbican’s summer programming is High Society, following in the footsteps of Anything Goes and Kiss Me, Kate.
In early 1753, two men – a footman named William Critchard and a sailor named Richard Arnold – were arrested and executed for ‘buggery’ in the Bristol suburb of Redcliffe.
It’s become something of a cliché in climate change coverage that the crisis has emerged out of the sins of the older generation wrought upon the young, and that fixing it is something that parents owe their children.
The history of musical theatre was almost very different.
In another world, Jimmy Cliff’s ‘You Can Get It If You Really Want’ would have made a barnstorming musical theatre ‘I Want’ song.
