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Few shows can be more highly gendered than The Marvelous Wonderettes, The design, by Emily Bestow, is ultra-feminine: the four young female
Inspired by an 18th-century ballad, the titular Maggie May in Lionel Bart’s 1964 Liverpool-set musical is the archetypal dockside ‘brass’ with a
Phil Willmott’s elegant production relocates Shakespeare’s play to the Edwardian British Raj and makes Othello a conflicted collaborator in the British army.
Jack Cole might not be the best remembered choreographer from Hollywood’s golden age, but he was an innovator in his day. He
In terms of its subject matter, George and Ira Gershwin’s musical satire Strike Up the Band is as cheesy as it gets.
In the mid-nineteenth century, the site occupied by Battersea Arts Centre was the home of Wandsworth and national heroine Jane ‘Jeanie’ Nassau
Aimee Stuart was one of many critically and commercially successful female interwar playwrights who have since been forgotten. Her 1940 romantic comedy
Christmas wouldn’t be Christmas without an adaptation of a much-loved literary classic or two. Private Eye journalist Rachael Claye’s adaptation of Louisa
With Sybil Thorndike as its patron, Leatherhead was once home to a thriving repertory theatre, but has since struggled to rebuild its identity.
The centenary of the end of the First World War offers the ideal opportunity to look at this period of history from
Writer/director Katharine Armitage’s adaptation of Frankenstein – a site-specific promenade but not all that immersive production in spite of being billed
James Purdy isn’t amongst the better-known figures of 20th-century American literature but his work was highly esteemed by Dorothy Parker, Tennessee Williams,
In Hal Coase’s adaptation of Virginia Woolf’s 1925 novel, post-First World War London is full of noises and voices, as evoked by
“I come from the people, they need to adore me / So Christian Dior me” demands Eva Peron as her publicity team
The Victorians aren’t usually renowned for brevity. These three comediettas (A Winning Hazard, Allow Me to Apologise and Orange Blossoms) by J.P.
Not to be confused with Dora Carrington, the Surrealist painter and writer Leonora Carrington’s life was as rich in creative energy and
Sheridan Morley once remarked that future productions of Jim Cartwright’s 1992 play The Rise and Fall of Little Voice could never be
Tapping into the Victorian fascination with speed, time and travel, Jules Verne’s much-adapted novel Around the World in 80 Days tells the
Abigail Hood’s play Spiral takes place against a jagged promenade in an anonymous seaside town. The seedy associations of such a milieu
An astringent, pressure cooker production: Julia Burbach directs a clear and compelling opera at Dalston's Grimeborn Festival.
The post Review: The Rape of Lucretia at the Arcola Theatre app…
The heroine of William Gibson’s 1958 play Two for the Seesaw, struggling Bronx dancer Gittel Moskowitz, is archetypally Shirley MacLaine (who played
It’s the law of theatre that if there’s a gun on stage it will go off before the play ends. In Robert
Samuel Pepys described Margaret Cavendish as “a mad, conceited, ridiculous woman.” She was certainly an unusual woman for the 17th century, or
Amongst the forgotten stories of the First World War, those of the soldiers executed for desertion must be some of the most
Iris Theatre’s production of Shakespeare’s final play The Tempest takes the form of a gentle promenade in which the audience is seated
Whilst the cast of the current West End production of Tartuffe perform in a mixture of English and French, the bilingual Exchange
Arthur Miller’s final play Finishing the Picture explores the manufacturing of female stars in Hollywood and their struggle to find their own
Taking its cue from Charlotte Perkins Gilman’s 1892 gothic feminist short story The Yellow Wallpaper, Ruby Lawrence’s intelligent re-imagining makes for an
Sewing tends to be thought of as a quiet, meditative activity performed by women in peaceful surroundings. The men’s prison in which
In Tim Cook’s hour-long play Adam and Eve, the biblical progenitors take the form of a smug middle-class couple (played by Lee
In 1912, only the most desperate out-of-work theatre actors would have considered slumming it in moving picture shows. By 1928, cinema was