Following the interweaving stories of a community in 1940s Austria, Tales from the Vienna Woods largely focuses on the domestic disputes of the characters rather than the effects o…
Initially I had high hopes for this young company.
Titan Knight sure knows how to put on a show.
With pre-festival recommendations from The Guardian and The Scotsman as well as a slot at one of the Fringe’s most prestigious theatres, performances of Ten Plagues have been pac…
It’s surprising to find Hit Comet in the Comedy section of the Fringe Guide as the heartfelt friendship at the core of the piece is far more successful than some of the comic ele…
The old adage ‘a problem shared is a problem halved’ is not one that Hannah Ringham subscribes to.
The Little Mermaid was never going to be the easiest text to adapt to the stage, especially in light of the Broadway production’s recent failure to delight audiences under the se…
Making sure that I arrived exactly five minutes early, as instructed by the lady at the box office, I promptly passed my telephone details to a stranger and had left the venue in n…
Ophelia is a strange concept: take what is widely considered to be Shakespeare’s masterpiece and try and rewrite it yourself, using lines from the original plus a couple of other…
From the moment the audience is met at the entrance by the overenthusiastic Mr Alesbottom, it becomes clear that the duo are desperate for us to like them.
The tale of an orphan - sheltered by her rich aunt, charming the snobs she meets with her sense of fun - Pollyanna is a relentlessly idealistic story.
Having just won ITV’s Show Me the Funny the previous night, Patrick Monahan’s mood was one of pure ecstasy as he was pushed past a queuing audience into the venue two minutes b…
The School of Night may take their name from an intellectually exclusive Elizabethan collective but what this improvisational group performs is high culture made accessible to the …
It is unclear why, forty years after the release of the original, Get Carter requires a transfer to stage.
Musicals are a challenge to perform on a budget at the best of times but the problem is made worse when the performance space is absurdly tiny.
The title’s unnecessary exclamation mark is testament to the relentless glee on show in London Gay Men’s Chorus latest musical jaunt.
Flesh Eating Tiger is a frequently over-complicated little beast but one that prides itself on confusing its audience.
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