It's the end of a very long week in Manchester and I'm soaking in a very hot bath at 6pm because, well frankly because I can! This week the Annie Get Your Gun team hit the road and moved the production from our rehearsal rooms in North London to Manchester's Opera House Theatre.
For a 20 week limited run, The Pajama Game moves into London's West End, and boy is it a welcome visitor. With theatreland have a tricky time, and new shows not fairing so well, it's time to send in a classic to reignite what the West End is all about.
At my feet sits an empty suitcase. The yawning, zippered mouth seems cavernous right now but judging by the chaotic jumble of clothes around me, I have no doubt I'm about to put its capacity to the test as I attempt to cram my life inside it for the next five months. Ladies and gentleman I, Emma Williams, am a Tour Virgin.
Microcosm is primarily focused on our anti-hero Alex, whose steady capitulation is not dissimilar to a modern day Othello. And indeed the Policeman, played by Christopher Brandon, serves as a kind of unknowing, kind hearted, Iago whose lack of constructive advice only serves to fan the flames of Alex's mania.
Avenue Q is hilarious. From beginning to end I probably laughed every couple of minutes. You know how usually in musicals there's a song or two that are sort of rubbish, or total time-wasters?
Does every member of the audience at this year's Proms have to see the oboe player in order to enjoy the solo? Of course not. Furthermore, if Nick Starr believes that actors pretending to be musicians is preferable to actual live musicians then why don't we just bung a tape on and fill the pit with actors at the Albert Hall? I know, I'm being absurd, but I didn't start it.
Secret Cinema has become a "must-attend" event in every Londoner's diary. The 21st edition of the immersive theatre/cinema experience continues it's successful formula of taking over an abandoned building, and filling it with actors.
Psychoanalysts, including Sigmund Freud himself, have interpreted a great deal of hidden meaning and deep insight into the human condition in Shakespeare's plays. For example, some psychoanalysts see special significance in the title of Hamlet, written in approximately 1601, given Shakespeare's own son, named Hamnet, died in 1596.
We've always enjoyed regular trips to Hull Truck Theatre, and with a return home organized for Easter weekend I was delighted to read about a new adaptation of Shelagh Delaney's seminal Salford piece A Taste Of Honey.
There's the one thing that underpins all of this - as Hamlet said, 'the play's the thing'. The reason Shakespeare's words are our words, and his works are our children's school work, is the substance. Content is king.
A new production, The Silver Tassie, written by Sean O'Casey in 1928 about the Irish involvement in the First World War and the abrupt interruption that caused in the local communities opens at the National Theatre.
Privacy is a really sharp, relevant play that looks at the frightening impact of mass surveillance. By addressing this vital issue head on, Privacy is unequivocally a play for our time.
As a professional actor of 25 years, since being the first disabled actor to appear in a UK soap back in 1991, and the chair of the actor's union Equity's Deaf and Disabled Members Committee I know all too well just how high the standard of talent is within the disabled acting community.
I am going to stick my neck on the line and say that, right here, right now, A View from the Bridge at the Young Vic is the best show in London.
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.
I'm interested in the ways that Pronoun might be activating shifts in participants/ audiences in relation to understandings of transgender young people's identities. The play is often described is a love story.