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.
I had high hopes of The Mistress Contract being an illuminating and entertaining read - not least because I'd been a mistress myself. For sixteen years I'd had a rollercoaster affair with a married man who encouraged me to transform from a dowdy housewife to a sexy professional Dominatrix with my own dungeon in London.
The Mistress Contract at the Royal Court is such a missed opportunity. The source material, a true story of a couple in the USA who've engaged in a sex services contract for the past 40 years, is fascinating but this stage adaptation is a disappointment.
Getting ready to rehearse/perform this play has made me more interested in these issues and how these countries are doing post-genocide/conflict. I've been asking friends who have families that live in Zimbabwe to tell me more about what it's like and not simply relying on the news alone.
Emerging from the stage door of the National Theatre in a pair of jeans and simple t-shirt, Zack Momoh looks a world away from his role as the soldier/cyclist in the performance of From Morning to Midnight. He has only a few hours before he's back on stage for the evening show, yet he greets me with an easy smile and relaxes into an armchair in a room looking out over London's Southbank...
Fear and Loathing in Vegas is cult property. The brilliance and craziness that flows from those pages is practically palpable. But not all of that magnetism has found its way into this keynote production at the Vault Festival 2014.
It's fair to say I've found a new love of the theatre, and modern tech means that people can experience the west end from hundreds of locations around the world. This is truly exciting. Not only that, but I think I am a Shakespeare convert.
Considering this is a Samuel Beckett play about a woman trapped waist deep in rubble and rock, the title of Happy Days may be ironic. But in this superb production it is a beautifully poignant reflection on the struggles of the human spirit against almost impossible obstacles.
In this version of King Lear at the National Theatre, Sam Mendes and Simon Russell Beale have created a dark, violent depiction of the last days of a mad dictator.