Review: BESOS, BEATS AND BEAUTIES, Lio London
Operating from the former Café de Paris, dinner-cabaret experience Lio London is coming up to its first anniversary and is celebrating with its latest show Besos, Beats and Beauties.
Franco Milazzo - Page 12
Review: BALLET NATIONAL DE MARSEILLE: ROOMMATES, Queen Elizabeth Hall
With an eclectic programme including an immersive dreamscape, an intense two-hander and a revolutionary footstomper, the Ballet national de Marseille present a six-pack of impressive dance pieces.
Review: STANDING AT SKY'S EDGE, Gillian Lynne Theatre
Through the lens of three households living in Sheffield’s Park Hill housing estate, Chris Bush examines family and politics in modern Britain.
Review: THE TIGER LILLIES AND DAVID HOYLE: LESSONS IN NIHILISM at Wilton's Music Hall
Looking at their impressive longevity and sheer depravity, Lessons In Nihilism’s combination of musical trio The Tiger Lillies and drag’s philosopher king David Hoyle is an almost inevitable team up, the only surprise being that it hasn’t happened before.
Review: SPIDER, Riverside Studios
The cruel world of drama schools is examined at close range in Spider, written and directed by Jude Benning and currently playing at Riverside Studios as part of their Bitesize Festival.
Review: THIS & THAT, Barbican Centre
Appearing down in the Barbican’s Pit theatre as the final part of this year’s MimeLondon, This & That from Phil Soltanoff and Steven Wendt is an oblique and often frustrating hour of shadow puppetry and animation.
Review: DINA MARTINA: SUB-STANDARDS, Soho Theatre
Flying in from the States for her eighth time at Soho Theatre, Seattle-based performer Dina Martin debuts her new show Sub-Standards.
Review: THE ADDAMS FAMILY - MUSICAL IN CONCERT, London Palladium
On its West End debut, The Addams Family musical makes the most of its graveyard humour and kooky characters, even if the star casting is questionable.
Review: DARK WITH EXCESSIVE BRIGHT, Royal Opera House
Appearing as part of their Festival of New Choreography, the Royal Ballet have partnered with the National Ballet of Canada for Dark With Excessive Bright, an extraordinarily intimate experiment which allows audience to experience the art form in a radical way.
Review: THE FROGS, Kiln Theatre
Considering their recent losses, physical theatre giants Spymonkey would have been justified to adapt a Greek tragedy rather than a comedy.
Review: ENTRAÑAS, The Barbican Centre
Performed for the first time outside Spain, El Patio Teatro’s Entrañas asks two simple questions: what does it mean to be a human, and what does it mean to be human? The deceptively simple title roughly translates as “Insides” and obfuscates the intellectual and emotional breadth and depth of
Review: TOSCA, Royal Opera House
Even with its scenes of torture, sexual extortion, execution and suicide, this thirteenth revival of Jonathan Kent’s take on Tosca digs deep into the romantic story at its heart.
Review: FASCINATING AIDA: 40TH ANNIVERSARY SHOW, London Palladium
The UK can’t claim too many music groups with the impressive longevity or sheer depravity of Fascinating Aïda.
Review: TESS, Peacock Theatre
Filled with a couple of operas’ worth of tragedy, Thomas Hardy’s Tess of the d’Urbervilles is not the likeliest source of inspiration for a dramatic circus show but Ockham's Razor are here to prove us wrong.
Review: ANTECHAMBER, The Barbican Centre
Meshing together live artwork, puppetry and music, Stereoptik’s latest work Antechamber is a theatrical experiment that largely delivers on its intriguing premise.
Interview: 'Extreme Puppetry: It's Much Like SAS Training, but for Puppets.' Mark Down and Ben Keaton Of Blind Summit on THE SEX LIVES OF PUPPETS
Flipping the script on the notion that puppet shows are for children, Blind Summit's latest show The Sex Lives Of Puppets is a thought-provoking portrayal of modern lust, love and everything in between.
Review: THE SEX LIVES OF PUPPETS, Southwark Playhouse
A show about puppets and sex? There are some obvious gags here, not least are their relationships based on “no strings”? Thankfully, Blind Summit artistic director Mark Down and his co-director and co-writer Ben Keaton eschew the corny and porny in this series of emotive vignettes.
Review: KAGAMI, The Roundhouse
Thanks to some nifty “mixed reality” technology from Tin Drum, Oscar-winning composer Ryuichi Sakamoto is brought back to some semblance of life in Kagami.
Critics' Pick: Franco Milazzo's Best of 2023 in Review
What a year! I pulled out my notebook over a hundred times and came away, more often not, with a happy heart.
Review: THE HOUSE WITH CHICKEN LEGS, Royal Festival Hall
Any new show from Les Enfants Terribles arrives with high expectations.
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