With music/lyrics by Mark Palmer and book/direction by Phillip McMahon, I'm Your Man aims, to quote Palmer's note in the programme, 'to lay bare the plurality of the human psyche'; as one might gather from that, it's not exactly a laugh riot.
As stand-up comedians go, James Acaster has got to rank among the more unusual.
'Magnificent' is how a friend of mine described Underneath.
A peculiar but undeniably enjoyable fifty minutes awaits in the Pleasance Courtyard's 'That' space at this year's Fringe
The Best New Musical category seems tighter than usual this year - of the four nominees, I can see three of them winning (sorry, Sunny Afternoon) but my money is on Memphis.
While perhaps not a vintage year, 2014 brought with it several theatrical delights and at least one colossal stinker.
Stephen Sondheim and John Weidman's Assassins is the kind of show that, with its precise historical reference points and barely pronounceable surnames, makes you feel smarter just for looking at it.
As the voting deadline approaches, it's all to play for in this year's BroadwayWorld UK Awards…
There's a popular theory that, in order to have a good chance at success, a new West End musical must be based either on a well-known film or on the back catalogue of a well-known music act - or in the case of The Bodyguard, both - and indeed, if you were to cast your eye over a list of hits and flo
Even as ritual humiliation goes, this is particularly cruel: a group of US marines, in San Francisco for one last night in 1963 before they head to war, initiate a game whereby each must lure the least attractive girl they can find to a party, with money in the pot for whoever brings the 'ugliest' d
Is it annoying if I? If my sentences never seem to? And for an hour, could you? Welcome to Show 6, a play in which no single sentence is allowed enough words for it to make sense, but which seems convinced of its importance, for one reason or another.
It gives me no pleasure whatsoever to write this but if you ask me, Theatre Ad Infinitum have dropped the ball.
I'll admit it: I'm a fan of a theatrical gimmick.
Thanks to director Ray Rackham's gentle, uncluttered approach, a bouncy score played wonderfully by musical director Thomas Lees and a small but strikingly talented cast of four, this brisk 80-minute soujourn to the Big Apple is consistently and undeniably enjoyable.
Some people call Grease 2 a guilty pleasure.
When it comes to the question of what I'm most looking forward to in 2014, I have but three words: Grease.
Reviewing a dance show when one's expertise in the area is negligible at best is a slightly daunting prospect and so, a disclaimer: this review will include no technical terms whatsoever because I don't know any.
It's probably fair to say I didn't approach this screening from the most objective of standpoints: having seen the West End production of 'Merrily We Roll Along' four times, and having wanted to fit a few more trips in before it closed, I was already very much on board with the general critical cons
The Herd is an entirely engrossing, emotional affair which offers a window on a situation which is relatively unique, but one that is experienced in a very real way by characters who will immediately resonate with anyone who has ever had a family.
The London theatre scene has got plenty to shout about this Autumn, with plenty of interesting stuff on the way.
