The Life and Adventures of Nicholas Nickleby, Part II - review

Written by: Miranda Blazeby (@MirandaBlazeby)

Guildhall School (Silk Street Theatre), London
****

The Life and Adventures of Nicholas Nickleby is characteristically and unmistakably Dickens. Here we have a multitude of fast paced, colourful and often caricatured characters fighting their way through a satirical commentary which examines the pitfalls of a social hierarchy that rewards the rich and condemns the poor whilst paying little attention to the fundamental importance of good and evil. At the centre of almost every story, Dickens places a character, usually male and eponymous, who is as plainly truthful, honest and pure as his villainous counterpart is deceitful, cruel and abhorrent. As we have had Oliver Twist and David Copperfield, here we have Nicholas Nickleby who carries the plot on his shoulders, rescuing a plethora of characters from societal injustice whilst simultaneously bringing to justice all those responsible, specifically his own tyrannous uncle Ralph Nickleby.

Neon Friday - review

Written by: Ed Theakston (@EdTheakston)

Battersea Arts Centre, London

****

Forced Entertainment have a unique reputation for creating theatre that pushes the boundaries of what an audience might expect a theatre production to do. To call this a theatre production would not do Forced Entertainment and artistic director Tim Etchell’s Neon Friday justice; it was a night of varied entertainments in a neon-filled building. There was something very special about the atmosphere the evening created in a bustling BAC.

Viva Tonight, Viva Forever!: the doors of Piccadilly Theatre open to one of the most anticipated musicals in the past decade

A brand new musical, based on the multi-million selling music of The Spice Girls opens its doors to previews tonight. 

This has likely been one of the most anticipated musicals of the decade, and now we actually get to see it. After the case was announced a while back, rehearsals commenced and previews are running until 11th December when the musical officially opens.

Lovesong at RADAR 2012 - review

Written by: Peeny (@AdamPeeny) 

Where's Peen been?
Bush Theatre, London
Was Peen keen?
***

How many times do we have to be asked, “How many times you gotta be taught the same lesson?” Honestly, once was enough.

RADAR 2012 at the Bush Theatre: New Writing Beyond Its Definition

Written by: Peeny (@AdamPeeny)

Where's Peen been?
Bush Theatre, London

RADAR 2012 has been a festival centered on ‘new writing’ at the Bush Theatre, which was aimed at being “a platform to lead us forward”. On the final night, a genuinely interesting and thought-provoking platform from beginning to end saw some great speakers at the peak of their career discussing what ‘new writing’ means and means to them, where it can go from here, and even how it came about in the first place.

Call Me Merman - review

Written by: Ed Theakston (@EdTheakston)

The Tabard Theatre, London
****

Ethel Merman is an icon. She is a musical theatre institution. She originated some of the most iconic roles of American musical theatre in the twentieth century. It therefore seems fitting that the larger-than-life Rosemary Ashe should be the woman to star in this one-woman tribute to ‘la Merm’.

I Stand Corrected - review

Written by: Sophie Talbot (@sophietalbot_91)

Ovalhouse, London
****

It’s “because it’s bent” Mojisola Adebayo remarks tongue-in-cheek, referring to her struggle to steady a microphone stand. The audience laughs appreciatively at this nifty irony in the midst of a production responding to the prevalent ‘corrective’ hate rapes in South Africa and anti-gay marriage stances in Britain.

Judith Lucy - review

Written by: Dombo (@DomOJFryer)

Where's Dom gone? 
Soho Theatre, London
Was Dom fond?
***

There's nothing funny about being late. And this isn't just advice I would pass onto Judith Lucy - my guest also kept me waiting for half an hour too. But do try passing this on to the aforementioned Aussie comedian, a woman who, to her credit, seems to be able to find the funny side of anything.

Heir Of The Dog - review

Written by: Andrew Crane (@AndrewRCrane)

The Dogstar, Brixton
**

For the evening’s entertainment, Almost Random Theatre offered us 3 bite-sized performances around the theme of God, collectively entitled Heir Of The Dog. Why they chose this title was unclear; it seemed more than an ‘almost random’ label for the theologically themed evening, and these performances certainly shouldn’t be prescribed as a hangover cure.

Long Live the Mad Parade - review

Written by: Tom Woods (@Thomas_E_Woods)

Where did Woods watch it?
Ashcroft Theatre (Fairfield Halls), Croydon 
Was Woods won over? 
****

If you saw the image of the queen from the Olympic opening ceremony that was doing the rounds a few months ago, you may well say that she looks “f***ed owff” – which is precisely the set up for Long Live the Mad Parade by David Spicer - a royally entertaining comic fantasy which will leave you grinning from ear to ear.

A Clockwork Orange - review

Written by: Peeny (@AdamPeeny)

Where's Peen been?
Soho Theatre, London
Was Peen keen?
****

There is a very valid and poignant message to be taken from A Clockwork Orange, and it’s one that is new to few people. After all; this has been a novel, a film, and a play for quite some time and frankly if you don’t know the story, you should. In the wake of the 2011 London riots (granted, a year ago, but they’re pretty difficult to forget), we see a gang of ‘ultra violent’ teenagers up to what they do best, and Alexandra Spencer-Jones’s production does not think twice about hammering home the stuff that we need to know in a spectacular fashion. 

The Dark Earth and the Light Sky - review

Written by: Stanley Eldridge (@StanleyEldridge)

Almeida Theatre, London
****

Plays about writers, bio-plays, tend to stray from balanced pieces of drama into opulent devices of worship very quickly. There’s certain romanticism in using the same form, the same pen as one’s hero might have used to extol their glorious life. The Dark Earth and the Light Sky proves to be a thoroughly interesting piece, precisely because it sidesteps any sickly bio-play trap. Nick Dear has produced an engaging piece about the poet Edward Thomas, whose work spanned the years surrounding World War One, in which Thomas fought and died.

A Table Set For Two - review

Written by: Josh Brown (@JoshPBrown)

Sutherland House, Royal Holloway University of London
***




“Thank God we got caught in the rain.” Undoubtedly, there is something strangely romantic about the rain.  Perhaps it is the serenading claps of droplets as they meet the ground or perhaps it is the fresh smell of lightly kissed tarmac or maybe, just maybe, it is the intimacy of an endearing embrace sheltered beneath an umbrella.  Yes, The Underground Clown Club returns with the sister piece to their earlier production of The Ball or How to Dance, but after such a successful production could the clowning duo maintain such standards? 

Medea - review

Written by: Alex Hiscocks (@alexislawl)

Richmond Theatre, London
***

I'm going to make a shameful confession: I was not familiar with Medea when I caught it at the Richmond Theatre. I knew it was a tragedy; a woman scorned after betrayal from her husband and that was about it. I was keen not to spoil the plot so made sure to avoid any synopsis so as to see it with an untainted vision, which I'm certainly glad I did. Mike Bartlett nobly adapts Medea for the modern eye and if you're even slightly interested in Greek theatre and tragedy, you'll be doing yourself a wrongdoing by missing this modernised take on an ancient text.

Forced Entertainment's 'The Coming Storm' at BAC

This coming Friday, the 23rd November, see's a special double-bill of Forced Entertainment and Tim Etchell's work take over Battersea Arts Centre, as the venue stages both performances and fills itself with their neon signs, music, and some jazzy cocktails that you're sure to never have tried before. We'll certainly be heading along, and letting you know exactly what we thought, but figured you might be keen to get some tickets too. 

Illusions at RADAR 2012 - review

Written by: Wendy Haines (@Wendyfer1)

Bush Theatre, London
****

Illusions is a play by Russian Playwright Ivan Viripaev, on this occasion translated by Cazimir Liske and presented by Actors Touring Company at the Bush Theatre. It’s a lot like Closer by Patrick Marber, but with less irritating characters who keep their feelings pent up to avoid playing Wife Swap, as opposed to swinging with open arms. The play is being performed as part of RADAR 2012 at the Bush Theatre, a festival to celebrate the future of new writing.

Encompass Productions presents Bare Essentials II: The Emerging Artists Showcase

Written by: Samantha Wynn 

Battersea Barge, London

Last Wednesday saw Encompass Productions present the second edition of their new writing event. With Encompass hosting the event and featuring their own work and performers throughout the evening, they also chose to sit back and leave the limelight to be filled by other companies and artists performing their latest work. If any of you attended the first edition of Bare Essentials, you will remember that the Barge almost sank to the bottom of the Thames with the amount of people turning out to support these up and coming artists. Only half the expected amount of audience members attended on this cold November evening, but it didn’t stop those who did attend to show a warm welcome and support of the new, innovative work.

Blow Out! - review

Written by: Christianna Mason (@Christianna_L_M)

Etcetera Theatre, London
**

I have nothing against farce but when you try to mix it with serious, heavy drama scenes (thick with clichéd lines and speeches) the result is somewhat cringe worthy. It starts out as a potentially innovative production with an interesting opening sequence and a curious premise but then spirals into a weird muddle of styles. The wide variety of genres used is simply confusing.

Constellations - review

Written by: Peeny (@AdamPeeny)

Where's Peen been? 
Duke of York's Theatre, London
Was Peen keen?
*****

Somewhere, in a parallel universe, this play hasn’t been written and performed and a whole load of people are missing out on something spectacular. Thankfully, in this universe, it’s now in its second run (after its first at the Royal Court earlier this year) and continues to receive loud cheers and rapturous applause. We’re definitely the lucky ones.

Carbon Dating - review

Written by: Elodie Vidal (@ElodieVidal)

Jack Studio Theatre, Brockley 

**

Carbon Dating knows how to hook its audience. The play goes off to a great start, featuring audience involvement, an intriguing stage design and dynamic directing; unfortunately, it struggles to live up to expectations as the play goes on.

Blue/Orange - review

Written by: Kirstie Ralph (@kjralph)

Richmond Theatre, London

****

An uninhabited, pristine consultation room of a psychiatric hospital was our introduction to Penhall’s acclaimed play. The room, with its gleaming metal, polished glass and white faux leather chairs oozed clinical professionalism, alongside a fruit bowl of oranges which is perhaps more common in a “Bupa” hospital than one of a failing NHS; little did we know that the oranges would become the focal point for a play which addresses issues that are much less obvious and attractive.

The Seagull - review

Written by: Peeny (@AdamPeeny)

Where's Peen been?
Southwark Playhouse, London
Was Peen keen?
***

Anya Reiss is arguably one of the most exciting new British playwrights, so it seems appropriate that she be the one to put a fresh spin on one of Chekhov’s masterpieces. It’s an enjoyable production that never quite takes flight; and at times, it comes close to a crash landing.

Theatre Uncut: Brand New StART

This week (tomorrow!) brings you an overwhelmingly exciting event that we think you must know about. 

Here's the good news: our good friends, Look You Made Productions, have teamed up with Theatre Uncut (who we have previously raved about, a lot, right here) to bring you an evening of rehearsed readings from some chosen playwrights, which include the likes of Neil LaBute and Anders Lustgarten. 

The Fish Tales of Alaska - review

Written by: Peeny (@AdamPeeny)

Where's Peen been?

The Yard, London

Was Peen keen?

****

This is a multi-disciplinary performance packed to the brim with punch, awe and salmon. It is Fringe theatre at it’s best; an all-female cast of good vocalists, compelling dancers and a leading lady to soak up all of the well-deserved sympathy tells us a tale by means of one of the freshest, most intriguing productions of late 2012.

Chewing Gum Dreams at RADAR 2012 - review

Written by: Tom Woods (@Thomas_E_Woods)

Where did Woods watch it? 
Bush Theatre, London
Was Woods won over? 
****

When was the last time that you felt old? Chewing Gum Dreams By Michaela Coel takes its audience back to school in a hilarious, poignant and occasionally sadly nostalgic tale about the 67 Bus, playground gossip and sex.

RADAR 2012 at The Bush Theatre: One Idea That Could Change Our Theatrical Landscape

Written by: Tom Woods (@Thomas_E_Woods)

Bush Theatre, London

Wednesday the 7^th of November marked the start of the Bush Theatre’s RADAR 2012 platforms. Kicking off with ‘one idea that could change our theatrical landscape’ they run until the 22^nd of November, and include sneak peaks of some fantastic new writing. If you haven’t already, I cannot urge you strongly enough to get a ticket and attend.

The Shakespeare Conspiracy - review

Written by: Ryan J. Brown (@freakyriddles)

Chelsea Theatre, London

****

At the centre of Shepherd’s The Shakespeare Conspiracy is the inspired notion that all of William Shakespeare’s characters are 100% living, breathing, and dysfunctional earth dwellers. Honing in on societies’ infatuation with a decent conspiracy, particularly the multitude surrounding the Bard, Shepherd intelligently creates a fast-paced, melodramatic and meta-theatrical delight that draws its audience in with a constant blend of glowing pop-culture references and intelligent narrative.

Killing Romeo - review

Written by: Natasha Shah (@Tash_Shah)

Etcetera Theatre, London
***

Romeo and Juliet might have been star crossed lovers, but it turns out the actors playing them were neurotic, vicious egomaniacs; at least that’s the case in Etcetera Theatre’s latest production. In Jazz Martinez Gamboa’s writing and directorial debut, two young actors in their final year of training rehearse scenes from Shakespeare’s Romeo and Juliet as they battle to be signed by an agent. However, as the tension and frustration builds, their relationship grows complex and they find themselves unable to work together with any success. The language of Romeo and Juliet is interwoven into the text and the characters at times use Shakespeare’s prose where their own fails them.

The Atheist - review

Written by: Christianna Mason (@Christianna_L_M)

The Lion and Unicorn Theatre, London
****

Cynicism, sex and scandal: The Sun, take note. Augustine Early, an American journalist (Jonathan Chambers) talks us through his sleazy and opportunistic crawl to fame. A despicable premeditated trajectory, he manipulates any surprises to his advantage giving no regard to basic human decency. This one-man show churns us through an explicit series of deliciously disgraceful events.

Blackshaw New Writing Night

Written by: Caroline Mathias (@caroveraclare)

Upstairs at The Horse, London

Blackshaw have been running New Writing nights for nearly two years, and have developed a format for the evening that really works. The audience are given wristbands so we can pop out between pieces, and each performance is followed by an opportunity to give feedback – either written anonymously or spoken into a dictaphone; and writers can pose specific questions if they want to know more about their audience’s response. This evening the programme featured four theatre pieces, but poetry, novel extracts and music are all accepted for this bi-monthly event.

Radio Times - review

Written by: Adam Carver (@CarverAdam)

Richmond Theatre, London
***

Upon arrival at the Richmond Theatre for the opening night of Radio Times: The Musical several actors dressed in period 1940s costumes greeted me; and a foyer emblazoned with equally fitting war-time posters which, coupled with the timeless elegance of the theatre itself, set the scene perfectly for the Blitz based musical comedy Radio Times.

I Love You, You're Perfect, Now Change - review

Written by: Seona McClintock (@seonamcclintock)

Riverside Studios, London
**

It’s easy to see why this show is one of the longest running Off-Broadway: it tackles with wit the relationship issues that crowd after packed crowd can identify with, but it needs to pack a few more punches to make it to the Great White Way. But it has made it to the Riverside Studios in London where the pattern is broadly the same. This musical revue strings together a series of sketches and songs about relationships since the dawn of time, from Adam and Eve to the average modern-day cinema-going couple, from first dates to funeral homes.

The Hatpin - review

Written by: Wendy Haines (@Wendyfer1)

Blue Elephant Theatre, London
***

The Blue Elephant Theatre is a small venue in an area of London that isn’t exactly bursting with culture. The organisation brings community and youth theatre to Camberwell despite austerity, an admirable pursuit which many other disadvantaged areas seem to be mimicking.

The Snow Spider - review

Written by: Dombo (@DomOJFryer)

Where's Dom gone?
Ovalhouse, London
Was Dom fond?
***

It is an odd thing to find yourself surrounded by people a third of your size. Yet when watching IO Theatre Company's new adaptation of acclaimed author Jenny Nimmo's The Snow Spider, this is what happens. Children's theatre seems to be fluent with the Zeitgeist right now in Britain, with seemingly more shows popping up than seen before.

La Fille à la Mode - review

Written by: Sophie Foulds (@SophieFoulds)

Theatre Royal Haymarket, London
***

“A girl should be two things: classy and fabulous!” according to Coco Chanel. Dante or Die Theatre (in partnership with Theatre Royal Haymarket Masterclass Trust) attempts to decipher this notion and the notion of the ʻIt Girlʼ in its re-worked production of La Fille a La Mode; the title inspired by the historic Theatre Royal Haymarket’s first ever production in 1720. Daphna Attias and Terry OʼDonovans choice to settle their promenade, dance-theatre piece within the grand theatre creates an instant sense of mystery and allurement; there is a certain romance about the place. Though one could question what relevance (title aside) did the theatre have to such a specific subject matter, that it would need to transcend periods of time and not get stuck in the history and time that the Haymarket holds.

Home - review

Written by: Rachel Hopping (@roadtorach)

Where did Hop pop? 

The Last Refuge, London 

Was it top for Hop? 
****

Hidden just off Peckham’s bustling Rye Lane, The Last Refuge provides the perfect shelter from the ghostly Halloween chill. A formidable, industrial door, marked only by curling chalked lettering and friendly fairy lights conceals a phenomenal hidden world in vivid contrast to its industrial setting. It’s the last place you’d expect to find such rare and beautiful theatre. But behind the scraping metal door, a cosy, candlelit bar - chock full of antique furniture and bric-a-brac - softens the harsh warehouse walls. Step through the chalk daubed back doors and enter yet another space entirely.