To quote the famous Mae West line: “Is that a gun in your pocket, or are you just pleased to see me?”.
Mrs Dalloway could have been at home formulating methods for killing her exasperating husband, before moving on to his irritating cronies; executed with enough elan and a joke or two, it might even have become the basis of an Ealing Comedy. Instead, Virginia Woolf’s eponymous character has made it practically her life’s work to live in the moment. She is centre-stage in her own life, the ultimate existential heroine.
Andrew Fishwick, who was imprisoned for tax fraud in 2010, has re-entered the theatre industry as executive director of the Park Theatre in north London. Here he tells Alistair Smith how hard he needs to work to win back the faith of the sector
As three British born Nigerian female playwrights have their work playing in London this month, Aleks Sierz discusses the parallels and differences in their work and the kind of stories they are striving to shine the spotlight on
After taking Top Hat around the country on a regional tour, Summer Strallen and Tom Chambers are starring in the West End transfer. They talk to Matthew Hemley about the show’s appeal and how their differing career paths have led them to become dance partners
Described as one of the most gifted of all US singer-songwriters, the Radio 6 production for Radio 2’s Whatever Happened To Bobbie Gentry almost gave the casual listener the distinct impression that Gentry was very much a one-hit wonder - end of story. But, in presenter, Rosanne Cash (eldest daughter of Johnny), she clearly had a fan, and one determined to show that there was much more to Gentry’s rather neglected talents than just the haunting hit Ode To Billie Joe (July 1967).
Britain’s Got Talent Final , ITV, Saturday, May 12, 7.30pm
Former Pussycat Doll Kimberly Wyatt talks to Matthew Hemley about moving on from shimmying in stilettos and why she’s putting her all into West End dance show Revolution
Matt Trueman talks to Ella Hickson about her latest work to be produced, Boys, which is currently running at the HighTide Festival, and how she has since moved on from writing about university life
Genevieve Raghu, the new artistic director of Norwich’s Maddermarket Theatre tells Eleanor Turney about her hopes and dreams for the venue
When the TV news becomes a bit boring, I resume my part-time job of mentally cataloguing every female newscasters’ working wardrobe. And it was the costume rather than the drama that got me through Downton Abbey when the script turned to spoof. Which brings us to R4’s serialisation of the blingy, jazzy, dark night of the soul which is F Scott Fitzgerald’s The Great Gatsby .
The critical response to the first series of Episodes was mixed, to say the least, but not from me. I loved it unequivocally. I loved the combination of sweet and cynical, I loved the clever scripts that were consistently funny without ever feeling forced, I loved the deft touch of an impeccable cast who knew just how to underplay a line and I loved the skewed rom-com narrative, with its themes of friendship and sexual betrayal, that twisted through the series delivering shocks and surprises en route. But most of all, I loved Matt Le Blanc. His performance as Matt Le Blanc was a joyous study in conceit, charisma and Hollywood crap, shot through with pure charm.
Blake Harrison’s role as a recovering drug and alcohol addict in new play Step 9 (of 12) is a far cry from the one in which he made his name as dim-witted Neil in E4 cult comedy The Inbetweeners - but, he tells Natalie Woolman, he is bent on diversifying and has no appetite for playing the fool any time soon
Presenter and actor Andy Day talks to Ben Dowell about being given one of the highest accolades in children’s presenting - a show that bears his own name - and why he is only too aware of the importance of being a role model for kids
Olivier Awards nominee Andrew Wright may have missed out on a gong at the recent ceremony for his work on Singin’ in the Rain but he is still a winner, having realised a life-changing goal he set himself seven years ago to make it as a choreographer by the age of 40. He talks to Matthew Hemley about the secrets of his success
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