A looming European referendum, a Labour party internally divided and drastic spending cuts. You could be forgiven for thinking that James Graham's This House is set just a few years ago. In fact, we're back in 1974 with a hung parliament and another election seemingly imminent.
On 22 March, the Bridge Theatre's production of Julius Caesar - directed by Nicholas Hytner and starring Ben Whishaw, David Morrissey, David Calder and Michelle Fairley - will be broadcast via NT Live. Bunny Christie and Tony Grech-Smith discuss, respectively, designing the show and translating it to screen.
April De Angelis's adaptation of Frankenstein, directed by Matthew Xia, stays true to its source's literary narrative.
Jonny Labey's past work ranges from EastEnders and winning TV show Dance Dance Dance to White Christmas and In the Heights on stage. He's now starring as rebellious Scott in Strictly Ballroom The Musical, which begins previews at Piccadilly Theatre on 29 March.
Audiences now have just five weeks left to see the critically acclaimed West End production of playwright Harold Pinter's The Birthday Party. The company for the major revival, which runs 60 years since the play's debut, includes Toby Jones, Stephen Mangan, Zoe Wanamaker, Pearl Mackie, Tom Vaughan-Lawlor and Peter Wight, and is directed by Ian Rickson.
James Graham's critically acclaimed and prescient political drama takes on a new importance in the current political climate. Are we in the midst of a political revolution? Can the country stay united? Roll back to 1974... The corridors of Westminster ring with the sound of infighting and back biting as Britain's political parties' battle to change the future of the nation, whatever it takes.
TINA, a new musical based on the life of legendary artist Tina Turner, officially opens at the Aldwych Theatre on 17 April 2018, with previews beginning on 21 March 2018 is now booking to 20 October 2018.
Nicholas Hytner will direct the world premiere of Alan Bennett's Allejujah!, previewing at the Bridge Theatre from 11 July 2018 with opening night on 18 July and running to 28 September 2018. Designed by Bob Crowley, Allelujah! will have lighting by Natasha Chivers and music by George Fenton. Tickets will go on sale at 10am today for priority members with public booking opening on Friday 2 March 2018 at 10am. Casting for Allelujah! will be announced shortly.
No, it's not that Frozen - although the immortal words 'Let it go' do appear in the second half. Otherwise this is a far cry from the Disney juggernaut. Bryony Lavery's 1998 play deals with the abduction of a child, and asks whether evil can be easily defined - or forgiven.
I live here. I live here. You can't see that, though. You can't see it. This is where I live. Here.'
Sonia Friedman Productions, Neal Street Productions and Royal Court Theatre Productions today confirm the final performance for the West End run of Jez Butterworth's The Ferryman, directed by Sam Mendes, will take place at the Gielgud Theatre on 19 May 2018 prior to its Broadway transfer.
Sonia Friedman Productions and Neal Street Productions will transfer Jez Butterworth's The Ferryman, directed by Sam Mendes, to Broadway at the Bernard B. Jacobs Theatre (242 W. 45th Street, New York) in October 2018.
Rehearsals have begun for the first UK tour of This House, which opens at West Yorkshire Playhouse on 23 February (national press night 28 February).
Frozen is a psychological thriller about a mother whose child goes missing, directed by Jonathan Munby and will play a strictly limited twelve-week season at the Theatre Royal Haymarket from Friday 9 February 2018.
The original production of Miss Saigon ran for more than ten years at London's Theatre Royal Drury Lane throughout the 1990s, and a revised version - billed as the 25th Anniversary production - opened at the Prince Edward Theatre in 2014. Following its closure in May 2016, it's this version which has now embarked on a major UK tour. And what a good production it is.
What do you do when you meet someone that completely knocks you off your equilibrium, causing you to challenging everything you once thought to be true? When your life direction is on the toss of the coin, do you fight or flee? Following it's hugely successful premiere at the National Theatre, Beginning transfers to the Ambassadors Theatre for a limited run.
Birmingham Hippodrome is thrilled to welcome the much-anticipated, sell-out production of Matthew Bourne's Cinderella from Tues 6 to Sat 10 Feb.
The cast who play a colourful host of MPs and Whips - is Ian Barritt (Batley & Morley/Woolwich West/Belfast North/Western Isles & Ensemble), William Chubb (Humphrey Atkins), Giles Cooper (Fred Silvester), Stephen Critchlow (Bromsgrove/Abingdon/Liverpool Edge Hill/Paisley/Fermanagh & Ensemble), James Gaddas (Walter Harrison), Natalie Grady (Ann Taylor), Ian Houghton (Armagh, Ambulance Man, Ensemble), David Hounslow (Joe Harper), Marcus Hutton (Ensemble), Harry Kershaw (Paddington South/Chelmsford/South Ayrshire/Henley/Marioneth /Coventry North West/Rushcliffe/Perry Barr & Ensemble), Louise Ludgate (Rochester & Chatham/Welwyn & Hatfield/Coventry South West/Ilford North/Lady Batley & Ensemble), Geoffrey Lumb (Clockmaker/Peebles/Redditch/Stirlingshire West/Clerk & Ensemble), Nicholas Lumley (Oxshott/Belfast West/St Helens & Ensemble), Martin Marquez (Bob Mellish), Matthew Pidgeon (Jack Weatherill), Miles Richardson (Speaker Act I/Mansfield/Sergeant at Arms Act II/West Lothian & Ensemble), Tony Turner (Michael c*cks), Orlando Wells (Walsall North/Plymouth Sutton/Serjeant at Arms Act I/Speaker Act II/Caernarfon/Clerk & Ensemble) and Charlotte Worthing (Ensemble). Ian Houghton, David Hounslow, Matthew Pidgeon, Tony Turner and Orlando Wells return to This House having previously appeared in the West End production.
Donmar Associate Robert Hastie returns for this timely revival from one of our greatest living playwrights, following his previous productions My Night with Reg and Splendour.
It's 60 years since Harold Pinter's play premiered - and flopped - at Lyric Hammersmith, baffling critics (with one exception) and audiences alike. Now, we expect the sinister subversion of both the seemingly mundane setting and the dramatic form that Pinter the jobbing actor knew from rep: that of the sub-Christie mystery thriller. But played well, as it is here by a starry cast, the play still has the power to unsettle.
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