At the beginning of Urinetown, you are told that this isn't your typical musical, and they're not kidding. After a three year run on Broadway, this unconventional toilet-based musical has arrived at the Apollo theatre; bringing it's host of odd characters and even odder storyline along with it.
East is East is a bright, well-observed comedy about the issues facing second-generation Pakistani children born and raised in the UK. Starring the gloriously talented Jane Horrocks and writer Ayub Khan-Din, the play has a terrific pace with an excellent balance of humour and pathos to keep you hooked.
Wet House, Paddy Campbell's first play, does a fantastic job of exploring these complex questions. Campbell's writing is fantastic, evoking the wit, depth of character and moral ambiguity that we've become accustomed to on programmes like The Wire or Breaking Bad.
Looking up at the ceiling in the Theatre room, I had noticed the two chandeliers missing and asked where these were. The Dowager Duchess was also puzzled and the two of us, along with the Estate Manager went to the study to look in the large leather bound book of listed items of note... the Insurance Book as I called it.
It's against that backdrop that the former Gordon Sumner delivers a Broadway musical, The Last Ship, which opened Sunday night at the Neil Simon Theater.
Memphis is truly the definition of a triple threat musical. David Bryan delivers an awesomescore of huge numbers and melodies that really soar off the stage. Each song is a moment within itself while still allowing the performers to showcase their mind-blowing vocal abilities.
After travelling the length and breadth of the country Applecart's storytelling tour of i Am Mark has its final performance tomorrow night. The show a...
In a recent interview with Andrew Marr, the writer and broadcaster Clive James said he'd "be lost without poetry" and in doing so spoke for us all. We, like James, take refuge in words, bathing in the salve of their sound, of English used with precision and intent...
David Byrne and Fatboy Slim teamed up to create their version of Evita, only with Imelda Marcos the rags to corrupted riches hero. The show debuted last year in New York and has transferred to London as the debut show for the National's brand new Dorfman Theatre.
Shakespeare's Henry IV Parts I &II have been compressed and transformed into a two-hour prison drama with an all-female cast in this bold production at the Donmar Warehouse.
If you go down to Clapham North today, you're sure of a big surprise: in the form of multi Tony award winning musical, Damn Yankees. A show packed full of certifiable Broadway classics including "Whatever Lola Wants", "Heart" and "Six Months Out of Every Year".
The star attraction is Kristin Scott Thomas in the central role and she certainly is a commanding presence on the stage. Her Electra is full of anger and bile but unfortunately not much else. She is bitingly caustic throughout the show, never showing any doubt over her determination to have her mother killed.
And then there was the ghost of Diana, wafting through the stage as delicately as like a drunk City worker on the train out to the suburbs. Intended as a surprise - maybe? - she was about as expected as regret after a one-night stand, and spoke in a faux-ghost voice that make several in the audience shift uneasily rather than lean forward with intrigue.
This led me to ask a talented young actor friend, Ben Lambert, who has appeared in various films and stage plays, how actors manage to cry on demand. His reply fascinated me.
Triple Olivier-Award winner Roger Allam is the star draw in Seminar, a surprisingly absorbing if somewhat unbelievable play about a bitter but famous novelist teaching a group of starry-eyed aspiring writers.
Like any red-blooded 23-year-old male, musical theatre is one of my biggest loves, yet until last week I had managed to go my entire life without catching one of Cameron Mackintosh's most beloved shows, Miss Saigon.