It was Oscar Wilde’s first major theatrical hit, but Lady Windermere’s Fan is rather better known these days for its famous one-liners than its content.
In recent years Australian circus has dusted itself off and boasts such wonders as Circa and Acrobat.
The Royal Ballet’s latest double bill pairs George Balanchine’s Ballo Della Regina from the 1970s with the early 19th century La Sylphide by August Bournonville.
Like an assertiveness training session for women, the first show of Oval House’s OUTLAWS season suggests getting in touch with your inner pirate in order to find out who you really are, (sisters).
The original Broadway production of Jekyll and Hyde ran for a respectable four years, despite lukewarm reviews, and, while there has never been a major production in the West End, the show had toured the UK with a modicum of success.
South Africa’s Isango Ensemble, based in Cape Town, previously won an Olivier Award for its Young Vic and West End run of Mozart’s The Magic Flute, and is now back in London with a three-show repertory that displays, tests and expands the ensemble’s skills in different directions.
Following revivals of Arnold Wesker’s The Kitchen and Chicken Soup with Barley, marking the playwright’s 80th birthday, the King’s Head presents the London premiere of a work written in 1997 and originally staged at the Bristol Old Vic.
When philandering husband Tom discovers that his wife has been having an affair he flees the marital home intent on seeking out the lover and destroying him.
Flora the Red Menace may be a footnote show in the history of Broadway musicals, but it has left an indelible footprint - it marked not only the first Broadway collaboration of composer John Kander and lyricist Fred Ebb (who would go on to become one of the most enduring of all Broadway songwriting teams), but also featured the Broadway debut of a 19-year-old Liza Minnelli in the title role, for which she won her first Tony Award.
Lindsay Posner’s production demonstrates that this powerful examination of the snap and crackle of suburban angst and frustration has enough fire in its belly to make for a searching, moving and above all relevant evening of theatre in 2012.
Inventive and fast-moving direction meets most of the challenges of Eugene O’Neill’s talky and partly expressionistic 1922 drama, making for an always clear and ultimately moving portrait of a man losing his sense of himself and his place in the world.
As a novel that Steinbeck evidently created with a mission to write for the theatre, it is true that the dialogue and setting needs little adaption for the stage.
Long established as one of the country’s front runners producing high calibre actors, Central School of Speech and Drama continue to turn out outstandingly skilled and industry-ready graduates, once again proven at this year’s MA acting showcase.
All aboard the Tabard.
Cape Town-based Isango Ensemble returns to London for a three-week season at the Hackney Empire.
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