The fairy tale and film get a new life in this 10-year revival of Matthew Bourne’s love letter to stage and screen.
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In the story, Priscilla is a battered bus – but this production of Priscilla is a juggernaut of sparkles, songs, and stunning visuals.
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Packed with some of Irving Berlin’s finest songs, a fluffy romantic comedy storyline, and the opportunity for more sequins and dance than you can shake a black cane at Top Hat should be a sparkling affair.
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This ribald romp is a perfectly pitched adaptation of the classic TV series, fully aware of its own absurdity and offering audiences a murderously good time.
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There’s no risk that Rupert Goold’s production of Hamlet for the Royal Shakespeare Company might “lose the name of action”: it comes in at a rapid-fire two and a half hours, with the events of the play condensed into just one evening.
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Irish comedian Vittorio Angelone came in to his double bill of Norwich Playhouse shows with two unexpected items in the bagging area: a live TV bust up with sword-carrier extraordinaire Penny Mordaunt and a hairline fracture of his ankle.
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The beats and the birdsong are constant threads in this lyrical memoir from performance poet Jenny Foulds.
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The classic socialist novel is given a partial reboot in this blunt tale of the workers and the wealthy.
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Looking like – in his words – the deputy manager of a charity shop – Ray O’Leary shuffles out to face a sold out Norwich Playhouse crowd.
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Two parallel romances, with very different outcomes, circle each other in this energetic production of Rodgers and Hammerstein’s Carousel.
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A trip to see a self-described basic bloke comic might not be everyone’s idea of a perfect Valentine’s Day – but it was tempting enough to nearly fill Ipswich’s Corn Exchange.
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A scattering of wooden chairs, 10 adults clothed in funereal shades, a young girl in ghostly white: just one of a ‘handful’ of scenes in Michael Keegan-Dolan’s maelstrom of movement that is MÁM.
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Reputations can be something of a millstone: if you only vaguely know it, Godot is the play in which nothing happens, twice. But that just isn’t true.
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Football is often about nostalgia – the legends, the curses, the inexhaustible supply of portentous stats – and James Graham’s Dear England is a time capsule of eight years of the national game.
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Ghosts can’t be real – can they? Head and heart differ in this smart, modern ghost story that is becoming a familiar theatre fixture.
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