I go to lots of theatre performances, shows, and events. I am constantly baffled by how poorly thought out the pre- and post-show experiences are. From the moment you enter the theatre, you are having "an experience". The atmosphere created within the venue all adds up to how much you enjoy the show. Parts of that experience are usually outside the director's control - for example the number of toilets, price of drinks, or friendliness of the security staff. But so much is within the ability…
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The problem with plays about science is that they necessarily have to give the audience a mini-lecture in the subject. The problem with biographical plays is they need to give the audience a summary of a life in a few short speeches. The problem with historical plays is they have to give a précis of the context needed to understand the times. The Lightest Element is a historical science biography, with the net result that it feels like a play based on a dozen smushed together Wikipedia …
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Big Finish have been pumping out Doctor Who audio dramas for quarter of a century. But this, apparently, is the first time they've recorded one live and in front of an audience. It was glorious! Big Finish could have cheaped out - even with a bare set and a cast of newbies, the fans would have flocked to it. Instead, we got this lushly decorated set: The console pulsed away during the interval. Swirling lights played around the TARDIS when the *Vworp Vworp* SFX played. And the DALEK told…
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Unless someone invents time travel, this is probably the closest you'll get to experiencing Janis Joplin live on stage. Jukebox musicals have a variety of viable routes to success. You either do a Mama Mia / We Will Rock You and just spin a weak story around the tunes - or you do a straight biography interspersing songs with whatever anecdotes the surviving members can agree on. Janis treads a different path. It is presented as a gig, with Janis singing and telling stories. The "twist" is…
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This has to be the campest, most ludicrously sequinned, joyous shows I've seen in quite some time. I knew nothing about Pippin, but my dad saw it back in the 1970s and loved it - so I snagged us a couple of tickets. The story itself is fun enough; an over-privileged princeling goes off to find his purpose and finds himself waylaid by vices, murders, and ducks. It's a silly, wry, and self-knowing show. More like Into The Woods than anything else. As this was an "in concert" production, I was …
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Opening Night is complex, fascinating, and flawed. It is baffling that this is somehow less than the sum of its parts. The acting and singing are incredible - Nicola Hughes in particular has a magnificent stage presence. The directing and staging is wonderfully innovative - giving even the most distant seat a close-up view. The songs are all great - with "You gotta make magic" a standout hit. The whole ensemble comes together in a perfect display of a what a West End musical is supposed to…
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This is a blast from start to finish. I haven't heard such screams of laughter since, well, the last Mischief production I saw! The Mind Manger is a crap magician dealing with his shitty home life, a tosspot stooge, and an audience full of idiots. Naturally, everything that can go wrong does go wrong. Imagine a very grumpy Tommy Cooper who despises his audience and, against all the evidence to the contrary, is convinced of his own mesmeric ability. It's a fully interactive show - the whole…
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An outstanding and joyous show. Through Rachael Stirling we catch a glimpse of Sarah Siddons - the acclaimed 18th/19th century actress. Stirling - and the entire cast - are exceptional. They transport us backstage with a dazzling array of characters. Every single actor gets a scene-stealing moment - it's lovely to see a cast having so much fun. It is Noises Off versus The Patriarchy as we discover how hard it is to be a actress (and authoress) in a world where female celebrity was only just…
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There are lots of one-man plays. There are a decent number of one-woman shows. Where are the one-girl stories? This is Rosie Day's attempt to fix that imbalance. The plot isn't particularly original (it is hard being a teenage girl!!!) but the way the story unfolds is magical. It is witty, irreverent, and cringey in just the right amount. Charithra Chandran has easily enough stage presence to sustain the show alone. She takes up space and brings her various antagonists to life in a stunning…
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The great thing about getting older is that the popular culture of your youth is repackaged and sold back to you with increasing urgency. Yes, I want that Lego set I couldn't afford as a kid. Why, of course I want to watch a reboot of Frasier! Another few Ghostbusters movies? I'm in! Brendan Murphy has prepared a dose of 100% pure 90's nostalgia and wishes to inject it into your eyeballs. Ahhh! Go on then! The show styles itself as all 7 seasons, told in 70 minutes, from Spike's perspective. …
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Overwrought melodrama in London's most uncomfortable theatre. This show has been done countless times before. You, the audience, watch extracts from a murder trial. At the end, you vote on whether she done it or not. It feels more suited to a Channel 5 show which asks punters to text their verdict in to a premium rate number. Overall, it is a tawdry - but thoroughly uninteresting - tale. The main problem (aside from the naff script) is a complete lack of respect for the audience. In an…
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For the first time in its illustrious 114 year history, the historic London Palladium will host a monthly orchestral residency beginning in February 2024, which will see iconic artists’ music celebrated. This was an entertaining, but curious, gig. It isn't a tribute act - no sequinned sound-alikes strutting the stage here - it's a a full rock-n-roll orchestra fronted by three dazzlingly talented female vocalists. They blasted out hit after hit - knowing that the audience is probably u…
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