This Royal Shakespeare Company production of Julius Caesar transports the drama to Africa, in an attempt to emphasise the tribal and fractious nature of the play.
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What do you give the comic who has everything?
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He describes himself as a “national trinket” but to the crowd at Norwich’s Theatre Royal I’m sure treasure would be a more accurate label for Julian Clary.
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I wish my one liners were as good as Stewart Francis’.
Explore MoreFrom the glitzy, gaudy, sleazy opening you wouldn’t guess
what unfolds in Cabaret. But this is a story — and a production — that runs
the full gamut from cheeky humour to unspeakable horror, with the only
constant delight the superb performances of a top notch cast.
From the outset of Matthew Bourne’s Play Without Words, the atmosphere drips off the stage.
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How do you tell one of the best known fairy tales in a new way? By assembling a cast of more than 200 and turning the very idea of storytelling on its head.
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Everything has its place and time: sometimes you want thought-provoking drama, evocative romance or weep-enducing tragedy. And sometimes you want a laugh.
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Some comics take a ponderous pace, carefully building to a crescendo; their act is finely wrought and honed over agonising hours of rehearsal and contemplation.
Explore MoreIf there’s one phrase that describes Matthew Bourne’s
imaginative retelling of the Nutcracker, it’s “oral feast”.
For a man who professes to dislike the internet so much, Stewart Lee is an ardent fan on one of its trendiest aspects: the meme.
Explore MoreIt don’t mean a thing if it ain’t got that swing — and
these boys have plenty.
It’s one of Shakespeare’s best-loved plays, a timeless story of tragic love. Moscow City Ballet’s performance of Romeo and Juliet is robbed of the famous poetry, substituting for it Prokofiev’s score and Victor Smirnov-Golovanov’s skilful direction and choreography.
Explore MoreRarely has the Theatre Royal stage’s potential been so richly
exploited as in Stephen Daldry’s production of An Inspector Calls.
It’s been scaring theatregoers in the West End for 21 years, but has the latest transfer of The Woman In Black kept its edge?
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