Franco Milazzo - Page 11

If you're looking for some dinner-cabaret, this show really is a no-brainer.

What began with an encounter between director Josephine Barton and Kurdish Iranian musician Marouf Majidi in 2017 in Helsinki has culminated in a converted factory space in Newham and Dido’s Bar, a story of immigrants fleeing war and persecution and finding love in foreign lands.

Jonathan Spector’s much-anticipated comedy Eureka Day starring Helen Hunt explores how a group of people with the same overt goals can diverge so wildly in their approaches to meeting them. By making its lead an opponent of vaccination, though, it treads a dangerous path.

Produced by Outbox and Shoreditch Town Hall, Groove tells a story at the heart of every gay community: that of the dancefloor and those who gather on it.

What fresh hell is this? Those who come to see musical theatre for the acting, the songs and the story may be wondering where Cages fits into this art form.

With the opening night delayed due to the death of Queen Elizabeth II and coming at a period of national mourning, this latest revival of Kasper Holten’s take on Don Giovanni is as cathartic an experience as it gets.

If you thought horror as a genre wasn’t something opera dabbled in, think again. The fourth outing for David McVicar’s 2008 production of Richard Strauss’ is as bloody and gruesome as it gets in Covent Garden.

The Last Days Of Mankind is undeniably one of the strangest plays few people have heard of. Written by Karl Kraus during and about the First World War, this docudrama which ends in a Martian invasion is rich pickings for the dark cabaret trio. @wiltonmusichall @thetigerlillies

Complex chords are paired with seminal choreography in The Goldberg Variations, BWV 988 from choreographer Anne Teresa De Keersmaeker and pianist Pavel Kolesnikov.

As the title suggests, the crip-cabaret crew Not Your Circus Dog collective are definitely, truly and utterly not f**king sorry. Anyone leaving this show not even slighty more aroused, enlightened or happier than when they arrived should be checked for signs of life.

Those new to Reuben Kaye should be warned that there are few holy cows that he is unwilling to turn into beefburgers. Sexuality, gender, race, politics, economics and religion are all grist to his mill. Imagine if legendary comedians Bill Hicks and George Carlin had a bastard child in the shape of a glitterbomb and you'll have some idea of what to expect.

Celebrating thirty years of cerebral pop, The Divine Comedy return to the Barbican to pick up where they left off in 2020.

With a new venue and a new emphasis, variety show Wonderville has returned to London this month following on from its debut season last year at the Palace Theatre.

Few people looking back at this season of scorching heatwaves, political upheaval and financial crisis would label it “halcyon” but, in a small room under Piccadilly Circus, an idyll of music and cabaret can be found thanks to this welcome slice of old school Hollywood pizzazz.

Phantom Peak, a Wild West-themed town with robots and no shortage of mysteries, may sound a tad like Westworld – but that’s where the comparison ends.

Amid a summer season positively snowed under with escapist fare, The Lion, The Witch And The Wardrobe fits right in. Admittedly, dipping into the wintery landscape of Narnia just after a British heatwave is a bit of an ask for the imagination but, if any production could do it, this is it.

Claudio Monteverdi’s L’Incoronazione di Poppea, revived here by Ensemble OrQuesta as part of the Arcola Theatre’s Grimeborn season, is a highly controversial and disputed work of baroque opera which flips the script on contemporary morality.

It’s taken three years but the Briefs cabaret crew have finally returned from Down Under with not just a new show but, with Sahara Beck and her band, a new direction too.

It has been a quarter-century since Patrick Marber's Closer debuted, but this play, in which everyone screws everyone in every sense of the word, has lost absolutely none of its epic brutality.

Sh!t-faced Shakespeare doesn’t take itself too seriously and puts bawdy entertainment at the top of the agenda; whether Shakespeare himself would give the thumbs up (or perhaps some other finger) is a question for another day.