Marianka Swain was UK Editor-in-chief of BroadwayWorld. A London-based theatre critic and arts journalist, she also contributes to other outlets such as the Telegraph, The i Paper, Ham & High, Islington Gazette, Dancing Times and theartsdesk, and she is a member of the Critics' Circle. You can find more of her work at www.mkmswain.com or follow her on Twitter @mkmswain
Be More Chill opened in London last night at The Other Palace! It's based on the groundbreaking novel of the same name by Ned Vizzini, with original music and lyrics by Joe Iconis and a book by Joe Tracz.
Tom Stoppard's latest - and possibly final - play has few of the dramatic hallmarks you might expect from him: the dazzling linguistic flourishes, the formal trickery, the knotty metaphors and giddy metatheatricality.
Three years after the National's enthralling revival of Tony Kushner's Angels in America, the playwright returns with his new adaptation of Friedrich Dürrenmatt's tragicomic 1956 parable a?' which has also been turned into an Ingrid Bergman-starring film and a Kander and Ebb musical.
Ammar Duffus's past work includes Twelfth Night at the National Theatre, Holes at Nottingham Playhouse, and Sally Cookson's take on Peter Pan at the Troubadour.
How can we know more about a comet in outer space than we do a woman's body? So queries Lucy Kirkwood's superb new history play a?' a feminist courtroom drama that's equal parts Twelve Angry Men, The Crucible and The Vagina Monologues, plus a dash of searing, up-to-the-minute political and social co
Be More Chill, a musical about a teenage boy who uses a supercomputer brain implant to help him fit in at school and get the girl, became a surprise Broadway hit thanks to its hugely dedicated fandom.
Much of the conversation around the incoming of the revamped Les Misérables production to the West End has revolved around the revolve a?' or lack thereof.
Last year, recent drama school graduate Sam Tutty landed the role of a lifetime: the lead in Tony Award-winning musical Dear Evan Hansen, which is now playing in the West End.
How ripping! A saucy French maid doing the Charleston with a handsome chap in tennis whites sets the scene for the most delightful escapism in town: Matthew White's gossamer-light revival of Sandy Wilson's 1953 love letter to the Roaring Twenties.
AT THIS PERFORMANCEa?? returns to The Green Room 42 featuring Standbys and Understudies from LITTLE SHOP OF HORRORS; HAMILTON; THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL and WICKED on MONDAY, DECEMBER 2ND at 7PM.
Have you ever dreamed of seeing Juliet wrest control of her destiny from William Shakespeare, aided by a liberated Anne Hathaway, all while belting out stone-cold Nineties and Noughties pop bangers? Well, you're in luck! This jukebox musical take on the Bard is pure sugar rush a?' and with enough gr
How can you possibly put Joe Simpson's account of his hellish mountaineering accident on stage? Curiosity alone might well draw in viewers for this new adaptation, which premiered last year at Bristol Old Vic a?' swiftly followed by awe as they see just how inventively writer David Greig and directo