If only every comedian was as acerbic, smart and downright funny as Katherine Ryan.
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Kings are used to being centre stage but Shakespeare’s Henry IV never really gets that chance – and this RSC production of Part I of the Bard’s epic tale doesn’t upset that.
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Some comedians tell a stream of gags, some a winding story. Alex Horne stealthily creates a contraption to ring a bell that would have made Heath Robinson proud.
Explore MoreParty guests are arriving and the hosts are absent; there’s been a gunshot and everyone can only guess what is going on – and guess they do.
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Watching poet Tim Key’s latest show is like a waking dream – and not just because the stage set prominently features a double bed.
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There’s no need to envy London when Adam Buxton can bring the best of his BUG shows to Norwich in such charming style.
Explore MoreHarper Lee’s tale of society’s intolerance to the other has affected a half-century of readers around the world: this theatrical retelling retains and builds on that power.
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So this could be awkward: Bridget Christie is a woman and a feminist. We know this because she tells us, repeatedly. I’m a male journalist – and a target for a reasonable chunk of her material.
Explore MoreWhat drives love and what drives hate is at the crux of this play, written by and starring Oliver Cotton.
Explore MoreJon Richardson is clearly a sensitive man: aged disparaging
reviews, the curling of microphone wires and the absence of anyone called
Geoff in the audience all seem capable of throwing him off beat.
The lips as breath’s doors is just one of the startling images in Shakespeare’s greatest love story, and the song and speeches of the Lord Chamberlain’s Men bring the tale of Romeo and Juliet vividly to life.
Explore MoreNothing comes of nothing according to one of the Bard’s
greatest tragic leads: he might have changed his mind after seeing the
Shakespeare Globe company’s joyful production of Much Ado.
The shady world of the film noir thriller and a killer score combine for this latest production from Threshold Theatre Company.
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George Bernard Shaw’s tale of class and language is an unpleasant tale, pleasantly told.
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Does violence breed violence? Does an interest in the macabre mean a respect for life, or indicate a moral weakness?
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