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Review: BLACK COMEDY, Orange Tree Theatre

There is exactly one joke in Peter Shaffer's 1965 farce: when the lights come on, the characters are in the dark. Everything else — the borrowed furniture, the hapless sculptor, the stern colonel, the ex-girlfriend arriving at the worst possible moment — is just escalation.

The Black Cap Reopens After A Decade

After more than ten years of anticipation, The Black Cap, has officially reopened, and Camden High Street has welcomed back one of its most iconic LGBTQ+ cabaret venues.

Review: THE IMPORTANCE OF BEING EARNEST, Starring Olly Alexander & Stephen Fry

No one could accuse Max Webster's flamboyant production of Oscar Wilde's The Importance of Being Earnest of being subtle. A new cast takes the reins from the National Theatre's hugely successful production last year and moves onto the intimate Noël Coward stage, bringing with them the biting wit, vibrant costumes and sexual fluidity that made this show such a hit.

Review: BORN WITH TEETH, Starring Ncuti Gatwa and Edward Bluemel

“Does my flesh dazzle you?” a lascivious Christopher Marlowe asks a flustered William Shakespeare in what we can only describe as an exceptional example of theatrical slash fiction. For the uninitiated, “slash fiction” is a genre of fanfiction that focuses on the romantic relation between preexisting fictional characters of the same sex. Liz Duffy Adams’s Born With Teeth brings the female gaze to the West End. Directed by Daniel Evans and starring Ncuti Gatwa alongside Edward Bluemel, 90 steamy minutes of action puts two most venerated playwrights in England together like we’ve only ever found on websites like AO3 (Archive Of Our Own, the biggest fan-run fanfiction platform) and Tumblr.

Photos: Ncuti Gatwa and Edward Bluemel in BORN WITH TEETH

You can now get a first look at Ncuti Gatwa as Kit Marlowe and Edward Bluemel as William Shakespeare in Born With Teeth, which marks its West End premiere presented by Playful Productions, the Royal Shakespeare Company and Elizabeth Williams.

Review: MEOW MEOW: IT'S COME TO THIS, Soho Theatre

Somewhere in a parallel dimension, there’s a version of Melissa Madden Gray that became an internationally renowned singer, as comfortable in French, Italian and German as English. In another one, she finds herself an in-demand circus clown able to bring the house down with her wickedly funny cocktail of sardonic facial expressions, physical antics and perfect timing. Then there’s the dimension where she’s a dominatrix who could humble a giant with her battery of passive aggressive taunts and expert manhandling.

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