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.
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Americans are all too often the butt of easy jokes these days. Rich Hall is one very good reason why they shouldn’t be.
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Steve Hughes opened his set at Norwich Playhouse tonight with a joke about the length of the flight between his native Australia and the UK.
Explore MoreIt don’t mean a thing if it ain’t got that swing — and
these boys have plenty.
Divorced, beheaded, died, divorced, beheaded, survived.
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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.
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Shakespeare’s plays are often crudely divided between comedies and tragedies; the director of this latest production of Twelfth Night clearly didn’t get that memo.
Explore MoreRarely has the Theatre Royal stage’s potential been so richly
exploited as in Stephen Daldry’s production of An Inspector Calls.
This is one of the hardest reviews I’ve ever written.
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Two worlds collide in the Maddermarket’s production of Alan Ayckbourn’s comedic tale of lust, misunderstanding and hastily arranged dinner parties.
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Adam Hills opens shows in his latest tour with a warning: he doesn’t have a planned set, he’ll mostly spend the gig talking to the audience, and it could go very wrong.
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Jack Whitehall may not be fresh meat on the comedy circuit any more, but he could still do with some more seasoning.
Explore MoreThe ever brave Maddermarket players have taken on a typically quixotic choice for their latest production: Dylan Thomas’ radio play Under Milk Wood.
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