South African performance artist Jemma Kahn and her seven kamishibai stories both start off appearing quite ordinary before revealing remarkable levels of sex, violence and all manner of delightfully sordid behaviour.
There are generally two kinds of audiences at Cirque du Soleil shows.
Backed by an extensive PR campaign that can probably be seen from outer space, George Takei’s Allegiance has finally landed in London.
As Cirque du Soleil returns to the Royal Albert Hall this month with Kurios: Cabinet of Curiosities, we speak to its artistic director Rachel Lancaster.
If 2020 was the year theatre ground to a halt and 2021 was when it nervously found its legs again (only to fall over occasionally), then 2022 was when it blasted back to some kind of normal with many pandemic-delayed shows finally seeing the inside of a venue.
As the wrangles continue over the funding of the arts in general – and London opera in particular – up pops David McVicar’s The Magic Flute to show just what the fuss is all about.
How much does the world love Dolly Parton? Let us count the ways.
To paraphrase Henry Wadsworth Longfellow, when Mandela is good, it’s very, very good, and when it’s bad, it’s almost unwatchable.
Sir Matthew Bourne’s Sleeping Beauty debuted in 2012 to mark the twenty-fifth anniversary of Bourne’s New Adventures company.
Those who deride this particular vision of Handel’s masterpiece as being inauthentic should be locked in some stocks and pelted with facts.
Drag queens are rarely charged with the crime of being understated so it is hardly surprising that San Fran’s Peaches Christ and her co-host Edwin Outwater chose to partner up with the Royal Albert Hall for the UK debut of their perennial Christmas show.
This versified version of arguably the greatest Christmas film ever is a seasonal highlight.
“Under capitalism, man exploits man.
With a CV that includes drag, opera, musical theatre and live art, Le Gateau Chocolat is a cabaret legend who escapes categorisation even if it is relatively easy to put your finger on just why he is so entertaining.
When Elf The Musical last set foot in London, the critics noted its family appeal, the syrupy content and the extortionate ticket prices.
The Snowman and Christmas go together like bad weather and TfL apologies so it's unsurprising that this adaption by the Birmingham Repertory Theatre of Raymond Brigg's seminal 1978 graphic novel is returning to Sadler's Wells' Peacock Theatre.
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