Franco Milazzo - Page 20

In her PhD on “Deconstructing the Spectacle: Aerial Performance as Critical Practice”, Dr Laura Murphy had a singular mission: “to challenge normative ideas attached to and embedded in aerial work”. In A Spectacle Of Herself, she delivers on this challenge with style and conviction.

A show dripping in pretension performed by a naked man? An impenetrable work obsessed with having a sex toy deep inside one’s backside? A meditation on “existential anxiety” that does little of note with an hour of precious life? There’s enough irony in You Are Going To Die to power an Alanis Morissette comeback, and then some.

What is the difference between a house and a home? And who gets to write history? Interactive experience 1884 provokes challenging answers to these questions in the context of an almost-forgotten historical event that had significant consequences for two continents.

Somewhere in King’s Cross, a middle-aged woman sits at a piano and plays an original piece with surprising fluency. There begins Samuel Adamson’s tumultuous tale of two teenage musical prodigies whose lives become thoroughly entangled.

As any fan of this art form will tell you, the first rule of cabaret shows is: never sit in the front row. The second rule is: never tell cabaret virgins the first rule.

Created by cabaret artist Jack Sears and Royal Ballet soloist Hannah Grennell, Giselle:Remix fuses dance and lip sync.

Sometimes reality and drama overlap so much that it can be hard to tell where one finishes and another starts. 

​​​​​​​Serving as a kind of Barber of Seville of theatre, Midsummer Night’s Dream is one of the most accessible of Shakespeare’s plays. Its blend of mystic romance, daffy dramatists and fairy-powered shenanigans is not short on rambunctious comedy turns but, in the hands of Flabbergast Theatre, that aspect is turned up to eleven.

When Phantom Peak, one of London's most innovative and ridiculously fun theatrical experiences, holds a Festival Of Innovation, how can one say no? It is not the only impressive immersive show in town but its near-peerless execution and boundless imagination puts it up there with the more well known Punchdrunk.

After two years away, Kyle Dean Massey steps back onto the cabaret stage at London’s Crazy Coqs.

This weekend, Netflix star Mason Alexander Park brings The Pansy Craze to Underbelly Soho, a theatrical concert series chronicling multiple periods in history where queerness was celebrated, commodified, consumed, and then criminalised.

A pitch-black comedy thriller which gives Franz Kafka a run for his money, Don’t.Make.Tea doesn’t hold back in its excoriating view of modern Britain.

There are few things more life-affirming than christenings, orgies and operas. And few works are more life-affirming and cathartic than Giacomo Puccini’s Madama Butterfly.

A spin off from Mischief Theatre’s Magic Goes Wrong,  Mind Mangler: Member Of The Tragic Circle makes its official London debut.

Sister Act The Musical’s tagline is “A Divine Musical Comedy” but whether the gods were for or against the film or this later version is debatable.

Frank Hardy has a problem. He’s an Irish faith healer without faith in his power to heal. It comes, it goes and he only knows for sure when it is not going to happen. With his wife Grace and manager Teddy, their tour of Wales and Scotland in a battered van has seen his abilities steadily failing him. A last throw of the die sees him return to his homeland. What could go wrong?

Absurdist quintet Figs In Wigs return to preach an apocalyptic gospel - but is this the beginning of the end or the end of the beginning?

Getting to grips with what a mute medium like dance is trying to convey is never easy even when there is a recognisable concept like Jim Henson’s The Dark Crystal.

In the week when an Arts Council England report lambasted the current state of opera and questioned its relevance to wider society, Charles Court Opera’s The Barber Of Seville stands as a stern rebuff to those who consider this art form to be dated and irrelevant.

With a live rendition of the Oscar-winning score by the Royal Philharmonic Concert Orchestra and the Philharmonia Chorus, the latest in the Royal Albert Hall’s “films in concert” series brings the The Lord of the Rings epic fantasy saga to a majestic conclusion.