Liam Williams is the most soulful, daring, intellectually unabashed young comedian in the country. His Foster's-nominated debut hour, which plays at the Soho Theatre this week, is comedy-as-poetry, his very own 'Love Song of J. Alfred Prufrock', a mock-heroic bildungsroman of a set splashed with haggard beauty, Yorkshire melancholy and wanking-at-ten-past-three candour...
The Royal Court starts 2014 with a very daring Samuel Beckett one-woman show. Whether this risk pays off is questionable but the boldness of the decision is admirable.
With his latest offering, Brown has veered slightly away from the sermonic qualities of Soul for Sale but the humour hasn't suffered for it. He's ever so slightly mellowed but this show still provides the caustic and learned humour that has become his hallmark.
As soon as a show opens - the first preview night, not press night - you can read all about it on Twitter and Facebook. Yet press review conventions have remained. Tweet about it all you want but news outlets are requested to review only from press night onwards.
Tempest shuffles onto the stage with a kind of affable apprehension and informally introduces us all to the show, keen to emphasise that the typical barriers between performer and audience don't apply here
My friend asked me if I would write this as a review, but I wanted it to be more so about my experience of the theatre. But I may as well say here that this play was one of the most incredible performances I have ever seen.
We've all got resolutions for 2014, some of them we might even keep beyond January. But if you are looking for something new this coming year, how about attending salons? Building on an illustrious heritage, the modern salons are cultural showcases that cover a range of subjects from the worlds of science, the arts and psychology.
Yes, it is an odd subject for a musical. And no, this is not the Phantom of the Opera - or Evita, for that matter. But Lloyd Webber's new musical is highly entertaining - perhaps the ultimate London guilty pleasure.
I am very hopeful that the run of Curious Incident will resume as soon as possible, as the show offers a meaningful depiction of autism and the impact of the condition on families around the world, as explored through the mind of a young boy - Christopher Boone (Jack Loxton, who gives an arresting performance) - in an innovative production that should not be missed.
This story follows the mental breakdown of The Prince and his love/lust for a swan. The Prince desperately wants his mother's affection. Unable to achieve it, he starts to crumble. A group of swans appear, offering him both shelter and destruction. He becomes intrigued by the main swan. Momentarily, he is lifted, flying.
I'll admit it - I'm a Madonna fangirl so the thought of spending an evening at a cocktail bar listening to her hits was a dream come true. Yet more than that, In Vogue, a one-man show from one of Australia's biggest music theatre stars, is entertaining, funny and surprisingly touching.
The Donmar's production of Shakespeare's Coriolanus is a vivid, dramatic production that brings out all the blood, bravery and heartbreak in this tragedy. And its leading man steals the show with a remarkable performance.
The main attraction is Tony Scutt's brilliantly inventive set. Set in God's allotment, his garden of creation, stacks of blue painted pallets are packed high with plants and sprouting garden plots scattered amongst them.
If you could ask Shakespeare one thing, what would it be? Building on this question, the MA Shakespeare and Creativity students at the Shakespeare Ins...
With plenty of free time on your hands over the Christmas break, there's not better excuse to pop down to your local London theatre.
American Psycho is a brilliant, innovative musical comedy about a murderous banker on the rampage in New York. Helmed by Rupert Goold, this is a show just cracking with energy. Yet at its heart is an elusive performance by its star attraction, Matt Smith.