One of the few things I enjoy even more than theatre is talking politics. Chairing a post-show discussion about a brilliant new political play, written and directed by a Westminster insider, is my idea of bliss.
A Single Man post-show Q&A at London's Park Theatre. © Anthony Kelly Cinemagoers
How do you cope in a world gone mad? That seems to me to be the central question in two of Romanian-French playwright Eugene Ionesco's one-act plays, The Lesson and The Chairs, written in the aftermath of the Second World War
I have a sneaking suspicion that we have not seen the last of this little musical gem, which is - incredibly - inspired by a real-life World War II espionage episode demonstrating British pluck and eccentricity in spades.
I love Christmas. But for the past several years, I have struggled to summon the Christmas cheer that used to kick in for me the day after Thanksgiving (or, after so many years in the UK, by 1 December at the latest).
I was fascinated by the story behind the play telling the story behind the film. The Shark Is Broken is the brainchild of Ian Shaw who co-wrote it and stars as his own late father Robert Shaw.
Here's a sobering statistic: 2,000 pubs closed during lockdown. Lost forever. The scale of that loss really struck me when I heard performer and (brilliant) poet Ben Norris recite it during The Choir of Man at the Arts Theatre. And, in fact, it's likely an underestimate.
There are some shows with modest beginnings that seem to have all of the industry behind them, willing them to succeed. Pride & Prejudice* (*sort of) is one of them.
This is not a project born of outsiders wanting to cash in, but rather a long-held ambition, some 16 years in the making, of Back to the Future's creators.
There's a line in The Last Five Years, Jason Robert Brown's semi-autobiographical musical two-hander about a relationship breakdown, that gets me every time.