Courtney Love has told the NME it's "very likely" that her late husband's story and music will be adapted for the Broadway stage. At last, Nirvana fans will have the chance to pay more than £50 a ticket to watch some jobbing hoofers projectile defecate over Kurt Cobain's legacy.
It's not often that I get excited about a classical music concert. Too often they're staid and aloof. But it's all so different when James Rhodes is playing and this week sees him kicking off a packed schedule with a string of shows at Soho Theatre.
Writing a film is like swimming the Channel, it needs training and preparation, a support team and the right weather and currents, all aligned on the right maps and charts.
Other Desert Cities is a superb, viciously funny but dark family drama that is the perfect start to The Old Vic's exciting in-the-round season.
How does one think up a load of dance music? Which comes first, the dancing chicken or the musical egg? Many people have asked me whether you need to see the dance in your mind's eye, and to some degree, I found that yes, you have to- not the way a choreographer would of course, but as a musician who understands rhythm at least...
THE INFIDEL was an IMPOSSIBLY difficult film to get financed. It was the hardest I have ever worked on, as literally every studio, financier, and sales agent in town passed on it at least once, and several of them, just to be sure, did so multiple times. The reasons given were various and inconsistent, but lurking behind them all we detected the same issue: a vague but powerful fear of a broad comedy about Muslims and Jews.
I don't have a cause and it feels slightly problematic. By cause, I mean a thing that happens, exists or acts in such a way that something specific happens as a result. I am not a producer of an effect and further to this I'm not apart of a community.
A tough gritty drama about life for a single mother in the rough area of South Boston may not be the kind of production you'd expect to see on a London stage, let alone with Imelda Staunton in it, but Good People is such a phenomenally superb production that it stands out for all the right reasons.
We may not know where the future of British music theatre lies or what it looks like, but in order for there to be a meaningful future this kind of broad exploration is essential.
On the face of it, an evening watching a play on the deterioration of a relationship from discontent to abuse might not seem desirable. But when the talent behind it is one of the country's finest up and coming theatre companies, then it most definitely is.
It's time we reassess what we want out of a relationship. Is a bling ring and a collage of couple photos above the fire place? Or is it warmth, understanding, and a Netflix subscription? Snuggles on the sofa and an Orange Is The New Black binge for me any day, thanks.
When writing the play 'Macbeth', however, Shakespeare did not make the Weird Sisters appear clearly feminine or masculine. An alternate analysis of costuming in Shakespeare explains that instead of simply filling in checklists of gender codes, Shakespeare's characters were dressed in different costume elements that mattered to a variety of degrees.
London College of Music, final year Musical Theatre students, attempt their biggest feat yet; staging a brand new musical in the heart of the West-End. 'Bel-Ami, by Alex Loveless, opens this evening at the Charing Cross Theatre. I can already sense the growing nerves as the Dress-run ends and the performers begin to prepare for their world premiere.
The rise of 'resale' sites - on-line companies which hoover up large swathes of tickets before selling them on at grossly inflated prices - has helped create a price-hike which has seen the average ticket in London's West End driven from £28.84 in 2001 - to £45.12 at the end of the decade.
In this post-Snowden age, where privacy it seems is all but dead, a reinterpretation of Orwell's Big Brother and the omnipresent surveillance state certainly has a lot to offer. But this production at the Almeida is over-engineered, with high concept overwhelming the text, creating an inconsistent, uneven show.
Women usually take burlesque classes for one of three reasons: they want to feel cheeky and have fun, they want to improve their body confidence and how they feel about themselves, or they want to become a professional burlesque performer. When asked about their experience of learning and performing burlesque the majority of our students will use the word 'empowering' in their answer.