MIDNIGHT strikes a chord at the Union Theatre
Read More On: Kate Golledge
Directed by Kate Golledge, this new musical by Timothy Knapman and Laurence Mark Wythe, opened at the Union Theatre last week. It is based upon Elchin’s play Citizens of Hell, set in Soviet Azerbaijan in the last moments of 1937.
“A highly impactful, beautifully-crafted musical.”
“This piece of music theatre is an enthralling evening, imaginatively directed by Kate Golledge.”
“Director Kate Golledge gives the show a clever, energetic, staging’
“Essentially a three-handed psychological thriller, Kate Golledge’s production is superbly enhanced by the use of a ghostly actor-musician ensemble who complement and complicate the existence that our central couple have set up for themselves.”
Misty Triumphs in West End
After a sold-out run at The Bush Theatre, Arinzé Kene’s Misty has taken the West End by storm. As the second black British play ever to play in the West End, Misty has captured audiences and critics alike in this astonishing production. With Dramaturgy by MLR’s Kirsty Housley and Sound Design by MLR’s Elena Peña, this is one production not to miss.
‘Arinzé Kene's work is an extraordinary, playful look at gentrification, writing and what it means to be a young black man in London.’
The Telegraph ★★★★
‘By the end of it, you feel you’ve been drawn into his mind itself - it’s phantasmagorical and inspiringly individualistic.’
London Theatre ★★★★
‘While he’s just trying to tell a story, a truth, he’s still verging on the territory of a Black person in trouble; violent, and in trouble with the law, rather than a plot involving Black people that isn’t about being Black.
Kene’s articulates his frustrations through smart, concise rap and poetry, and it’s difficult not to be enthused by what he has to say, whether it’s about the gentrification of the city he loves – the viruses migrating to the city replacing community theatres with fancy cafes pricing out the people he loves - or how theatre and the arts treat work by Black artists.’
A Younger Theatre
‘It’s spectacular in its honesty and eloquent in its rage; textured in its emotionality; and polished in its rawness.’
DINOSAUR WORLD LIVE is an interactive, ROARsome adventure
Currently delighting dinosaur fans young and old(er) across the country and at Regent’s Park Open Air Theatre, DINOSAUR WOLRD LIVE was written and directed by Derek Bond, with Set & Costume design by James Perkins.
Fairy Powered Productions ★★★★★
“A rip-ROARing success of a production!”
Entertainment Views ★★★★★
“My four year old son was in awe…you’ll leave the show feeling thoroughly entertained”
What’s Good To Do ★★★★★
“Highly recommended for all ages”
OK Magazine ★★★★
“Spectacular interactive show!”
Behind The Arras ★★★★★
“Entertainment with showmanship, razzmatazz and spectacular puppets. A magical piece of theatre for children!”
City AM ★★★★
“A really fun family show”
The Reviews Hub ★★★★
“The perfect family show. Educational and entertaining.”
“a genuine, up-close charm”
“a hit, a great interactive show for all the family!”
“You could hear the gasps and squeals of delight as each dinosaur was introduced on stage.”
''Dinosaur World Live is a must-see for any young dino fans!”
“Beautiful puppetry and delightful dinosaur action”
Birmingham Express and Star
“Forget the new Jurassic Park film, if you want to get up close to our prehistoric pals then you won’t want to miss Dinosaur World Live…the ideal show for all dino-fanatics!”
LITTLE SHOP OF HORRORS is an extra-terrestrial ★★★★★ hit
Read More On: Howard Hudson
This year’s musical spectacular at the Regent’s Park Open Air Theatre was LITTLE SHOP OF HORRORS, directed by Maria Aberg and with Lighting Design by Howard Hudson.
“it’s gloriously succulent and deliciously sinister… exuberantly excessive, and as thrillingly, dangerously seductive as a beribboned bouquet of triffids.”
“One might think it impossible to convey inner-city claustrophobia in a space as open and lovely as the Open Air Theatre but Scutt has succeeded, ably abetted – once the sun has gone down – by Howard Hudson's well considered lighting.”
“I would give it six stars if I could. Do not miss it. Joyous.”
“for all its dark themes and deadly plant life, this new production is full of life and uplifting energy with a musical score that is a constant delight.”
“Maria Aberg’s production is modern, snappy as a Venus flytrap and boasts more than a little bite.”
“This is a fast, intelligently paced show that makes full use of its open-air backdrop. The sunset gives a wistfulness to Audrey’s Somewhere That’s Green, which is sung from the rooftop of Mushnik’s shop, framed behind by the romantic and, we can only hope, non-carnivorous greenery of Regent’s Park.”
“Even (or especially) if you think you know the material backwards, you’d be mad to miss this uplifting revival… the production looks and sounds terrific and offers a genuinely bracing new vision of this piece.”
“Throughout, there’s a perfect balance of tones: subversive horticultural horror with a gentle emotional core. Rooper’s “Somewhere That’s Green” is heart-stopping in its yearning simplicity (and, last night, a real sunset obligingly matched Howard Hudson’s dreamy lighting).”
Pericles Goes Down a Storm ★★★★★
‘The National's vast Olivier stage has never seen anything quite like it before.’ - The Independent
The National Theatre’s first ever Public Acts production has gone down an absolute storm with critics and audiences alike.
'Inclusive, empowering, revitalising, celebratory, multicultural, multilingual and downright fun. This three-night community theatre smash-and-grab might just have changed the National Theatre for good.'
'There were moments that brought to mind the opening ceremony of the London 2012 Olympics; people coming together, en masse, to create something more than the sum of its parts. The director, Emily Lim, deserves a medal for corralling 233 performers (a record for the Olivier stage) into a roiling, broiling show that thrummed with life. Whenever the whole cast entered the stage as one, it felt like a coup. This is our stage, it said.'
'A giddy celebration of humanity and our endless capacity for warmth, togetherness and love.'
'Emily Lim has corralled the chorus brilliantly but she hasn’t polished the life out of them. Nervous smiles flash towards the audience and Shakespeare’s play feels so much more authentic and touching for it.'
'Jim Fortune’s original score is catchy, confident and eclectic, with Latin pop, folk and Bollywood influences as well as soaring romantic ballads. His music is complemented by cameo appearances from a range of London-based groups, whose performances are brilliantly varied and deeply soulful. No more so than when Pericles bids farewell to his daughter with a mournful lullaby, and a soloist from the London Bulgarian Choir lets rip with a haunting lament.'
‘It's a solid five-star show that transforms its challenges into opportunities (as all those management development courses insist upon) and delivers an unforgettable theatrical experience for everyone involved on either side of the fourth wall.'
'Extraordinary theatre indeed!'
‘Joyous, lively and community-focused’
‘The resulting production, which opened last night for three performances, teems with vibrant, diverse and witty life, qualities that Pericles is well-suited to display’
‘It’s the richest possible patchwork of styles, cultural influences and theatrical methods.’
'An epic undertaking, Pericles is the first born child of Public Acts, a nationwide initiative that seeks to create ambitious works of participatory theatre. And ambitious certainly is the word. The production features a cast of 120 Londoners from different backgrounds, additional performances from a variety of groups such as cheerleaders, a gospel choir and dance troupes. To say there is nothing like it in the West End is an understatement.'