Recently, we had the chance to talk with Rosie Sheehy about taking on the role of Helen Jones, or “The Young Woman,” in Machinal. We discussed what compelled her to join this production, what it is like being a part of a work based on the real life of a woman and what she hopes audiences take away from the piece.
A charming adaptation of Herman Melville’s masterpiece, Sebastian Armesto’s Moby Dick mixes music and drama in an effective, atmospheric production that never gets lost at sea, no matter how daunting a task it is to stage the novel.
Given the emotional investment required on stage and in the stalls, one feels somewhat shortchanged by a production that invites sympathy for a character with few redeeming features
Recently, we had the chance to chat with Alex Young, who plays Virginia Creel, Henry Creel’s mother, in Stranger Things: The First Shadow. We discussed what it has been like being part of the stage version of a beloved television series, how it feels to be taking on a role seen on the screen and some of her favourite characters from the show!
All new photos have been released of Robert Sheehan as Withnail and Adonis Siddique as Marwood in Withnail at I at Birmingham Rep. Check out the photos here!
Bringing together Shakespeare's two great history plays, Player Kings is now open at the Noël Coward Theatre. Ian McKellen plays Falstaff in a new version of Shakespeare’s Henry IV, adapted by the award-winning writer and director Robert Icke. A divided country, leadership crumbling, corruption in the air.
The 2024 Olivier Awards are fast approaching on April 14. Ahead of one of the most exciting nights in theatreland, our critics – Aliya Al-Hassan, Mica Blackwell, Alexander Cohen, Katie Kirkpatrick, Kat Mokrynski, Gary Naylor, Kerrie Nicholson, Matthew Paluch and Christiana Rose share their thoughts about who and what will triumph on the night, as well as who should twin each category.
Marisha Wallace will not find out about her Olivier Award nomination for Guys & Dolls until after she leaves the Celebrity Big Brother house. While nominees like Sarah Jessica Parker and Nicole Scherzinger found out about their nods this morning, Wallace is completely shut out from the world until she is evicted or wins the game.
The challenge of updating theatrical classics has led to some truly stunning theatre, such as the sell-out Cabaret and last year’s darkly stark OKLAHOMA! Frank Loesser’s 1950 musical comedy about sin and romantic salvation during the height of Prohibition was ripe for an update and Nicholas Hytner’s immersive production of Guys & Dolls has been thrilling critics and audiences alike since it opened last year.
After three years on the West End, Frozen will be closing on 8 September 2024. Recently, we had the chance to talk with Laura Dawkes, who made her West End debut as Princess Anna. We discussed how she got into the world of theatre, what it is like to be a part of the show as it closes and even what it has been like to portray a Disney Princess!
After wrapping up her run as Miss Adelaide in the immersive U.K. production of Guys & Dolls on February 24, Broadway and West End star Marisha Wallace has officially entered the Big Brother house for the long-awaited return of Celebrity Big Brother.
It’s odd to watch an opera where the actual opera is an afterthought. At least that’s how it feels watching Simon McBurney’s The Magic Flute. His revival production sizzles with circus spectacle, high tech pageantry, and boundary breaking chutzpah. But underneath it all you’ll be hard pressed to find the warmth of a beating heart.
Making his West End debut, celebrated director Thomas Ostermeier‘s iconoclastic production of An Enemy of the People plays at the Duke of York’s Theatre is now playing for a strictly limited run.
Player Kings, a new adaptation of Shakespeare’s Henry IV Parts 1 and 2, arrives on the West End in April. Recently, we had the chance to speak with Clare Perkins, who plays Mistress Quickly. We discussed taking on a modern version of Shakespeare and what she hopes audiences take away from the work.
The glamour of Old Hollywood loses its shine in John Logan’s newest labour of love. Set in the 60s in an industry fuelled by power struggles, this is less epic than The Motive and the Cue, but decisively more nerdy.