Head First Acrobats know their audience. And, welcoming the Australian circus troupe back to the (appropriately named) Peacock Theatre with cheering and catcalls, it's clear the audience knows them too.
https://www.londontheatre1.com/reviews/return-of-the-godz-peacock-theatre-review/
Possibly one of the only things that reminded me I was watching a student production was that the more senior characters, a generation above the four sisters on whom much of the storyline centres, were being played by
https://www.londontheatre1.com/reviews/little-women-royal-academy-of-music-review/
The Beekeeper of Aleppo is a 2019 novel by Christy Lefteri telling the deeply human, emotionally charged story of Syrian refugees Nuri and Afra as they flee war-torn Aleppo and struggle towards safety in Br
https://www.londontheatre1.com/reviews/the-beekeeper-of-aleppo-theatre-royal-brighton-review/
Where does the playwright end and the performer begin? Is an audience more than just a collection of passive viewers? How does the solitary act of writing transform into the shared experience of a performance?
https://www.londontheatre1.com/reviews/red-rabbit-white-rabbit-duchess-theatre-review/
Written by the estimable Richard Harris, Dead Guilty is a gripping psychological thriller that proves as compelling today as when it first premiered in 1994.
https://www.londontheatre1.com/reviews/dead-guilty-theatre-at-the-tabard-review/
In the 2011 French language film The Intouchables, a quadriplegic and very wealthy Philippe is playing various well-known pieces of classical music to his carer, Driss. Except Driss prefers American f
https://www.londontheatre1.com/reviews/a-life-in-four-seasons-regents-park-open-air-theatre-review/
The principal voice of Soldiers of Tomorrow is Itai Erdal, an Israeli who emigrated to Canada in 1999.
https://www.londontheatre1.com/reviews/soldiers-of-tomorrow-finborough-theatre-review/
The award-winning global phenomenon Billy Elliot the Musical is set to make a triumphant return to London’s West End, with performances at the Adelphi Theatre from 12 February to 31 July 2027.
https://www.londontheatre1.com/theatre-news/billy-elliot-the-musical-returns-to-the-west-end-in-2027/
I went along to the friendly off-West End Omnibus Theatre this week to see the first preview of F**king Swans. I will caveat that the show was in preview mode, so things may have changed since I watched the production - so b
https://www.londontheatre1.com/reviews/fking-swans-omnibus-theatre-review/
The storyline seems totally absurd and yet totally convincing – it feels somehow entirely feasible that best buddies at university would, after graduation, naturally drift away and do their own thing, which in the case of
https://www.londontheatre1.com/reviews/10k-jog-on-jack-studio-theatre-review/
