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Anyone lucky enough to have seen Ian Rickson’s magnetic recent production of Duncan Macmillan’s version of Ibsen’s Rosmersholm at the Duke of
Long before the current row about the Society of London Theatre possibly limiting the number of producers eligible for Olivier award statuettes,
At the risk of appearing pernickety (or, intriguingly, for American readers, persnickety) there are theatreland words and phrases I truly loathe. Jostling
“Everybody’s pickin’ up on that feline beat.” That was Floyd Huddleston and Al Rinker’s thinking in 1970 when they wrote the line
Regrets, as Frank Sinatra was given to singing, I’ve had a few, but then again is missing the musical Time among them?
While some musical theatre aficionados, myself included, know more than our fair share about queens, we know rather less about the Queen’s.
Multi-instrumentalist Mike Davis has played for shows from Follies and Gypsy to Grease and Everybody’s Talking About Jamie. He tells David Benedict
“Never does one understand so well the failure of women in art as when one sees them deliberately impersonating men upon the
Over an eye-widening 32 seasons, Kirstie and Phil have consistently reminded us of the importance of location, location, location. What they have
It was songwriter Irving Berlin who, in 1946 for his Annie Get Your Gun, taught the world that: “There’s no business like
When someone buys me a theatrical time machine, the first place I shall travel to will be the opening of Harold Pinter’s
Theatre, in days gone by, made its own stars. Neon lights shone with the names of actors whose careers had been made
“Ladies, this is your final call.” Emilia, the rumbustious, fiercely feminist biographical drama of Shakespeare’s ‘dark lady of the sonnets’, closes on
Musical theatre quiz: hands up who knows the names and jobs of Roger Allers and Irene Mecchi. Hint: their work has been
“I do not at any point, in any way whatsoever, think of myself as a Jewish writer, except that I happen to
I’m guessing that not many of you know the name Ervin Drake, but he wrote Frank Sinatra’s regretful hit It Was a
I’ve always considered it a shame that although one can emerge from the theatre disappointed, in the opposite circumstance one cannot say:
I was 11 years old, terrified in a strange building and I blame Antony Hopkins. No, not the one who played Hannibal
Nominated for the 1991 Booker prize, Reading Turgenev by the late, great Irish novelist William Trevor lost out to Ben Okri’s The
“Who are the judges?” At least three high-profile nominees at Sunday’s Olivier awards asked me that question. They weren’t asking it out
“I think the Eighties are going to be stupendous.” That’s the moment when the capital P political dimension of Caryl Churchill’s most
Having caught the Lucinda Coxon adaptation of Harriet Lane’s novel Alys, Always during its final week at London’s Bridge Theatre – reader,
“I hate musicals, I hate ’em.” So said Richard Hawley in an interview quoted last week on BBC Radio 4’s Front Row.
Leading theatremakers including Vicky Featherstone, Rufus Norris, Dominic Cooke and Maxine Peake tell David Benedict about the writer’s influence on their work
Stage adaptation of Elizabeth Strout's novel is a one-woman tour de forceIn Harold Pinter’s memory play Old Times, one of the women declares, “There are some things one remembers ev…
The stakes are high in the West End transfer of Nina Raine's play about marriage, rape and the law Question: is Consent, transferred from the National to the West End, a sharp-tongued c…
One part Angels in America to six parts Howards EndAbout a decade ago, theatre-makers started routinely describing themselves as being in the business of storytelling.
The playwright-director reflects on his 1999 play, revived at the Donmar and Sheffield CrucibleFingers on buzzers… Question: What’s the connection between Days of Wine and Roses, Small C…
'WHY WE UNDERSTAND EACH OTHER': Peter Gill on 'The York Realist'The playwright-director reflects on his 2001 play, revived at the Donmar and Sheffield CrucibleFingers on buzzers… Question:…
Jennifer Saunders gets laughs, but Kathy Burke's lamentable production misses the pointImagine, if you will, discovering a ninth-rate old melodrama about upper-class nonsense, hiring a …
Look no strings: long-nosed cartoon character is humanised by a magical stagingFrom Nicholas Hytner and Alan Bennett’s wonderfully nostalgic version of The Wind in the Willows through Cora…