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 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.
While London has had to wait a long time for Disney’s own screen-to-stage adaptation, its September arrival makes it feel as if Christmas has come early to the West End.
If it weren’t for Covid-19, we probably wouldn’t have Jersey Boys back in the West End. But we probably would still have original Four Season Tommy DeVito.
I have become obsessed with where the money goes in The Money. If you suddenly received a few hundred pounds, how would you spend it?