Okay, here we go again. Hope you all made the most of your month off theatre (two if you’re allergic to pantomimes). But February is coming, and with this another season of recommendations. As always, the rules for how I choose recommendations are here. Just a reminder that I rarely recommend a play solely because it’s being produced by a high-profile company – normally it will be on the strength of a writer, director, or performing company I’ve seen before. But that way, this means the little fish stand a fair chance against the big fish.
One notable omission is it stands it Live Theatre. For some reason, they still haven’t announced all of their next season. As soon as I hear what they’re doing, I will insert anything worth including. Continue reading →
Tuh. Lumiere festivals are like buses. You wait ages for one to come along, then you get two at once. However, for non-obsessives who live in Durham or London, you get one festival every two years. Durham has just had its festival, now it’s London’s turn.
Lumiere London is possibly the greatest coup that County Durham culture has pulled off. Durham’s festival was already one of the most popular and most prestigious festivals over the whole of the north-east, now it has been exported to London and proved a hit there too. In fact, if there was anything at all to fault of Lumiere London, it’s that it was too popular, with more people coming to see it than anyone had expected.
So, as usual, here’s my preview based on what I’ve previously seen in Durham. I cannot give the lowdown on every single installation coming to London’s way – most of them are things that are completely new to Lumiere – but a lot of them have been to Lumiere Durham before. This is where I can lend my expertise. Continue reading →
And here we are again. Another two years, another Lumiere. Only this time, I need to start calling this Lumiere Durham to distinguish it from the other Lumieres. Yes, in 2016, there was the launch of Lumiere London which was a great success. In fact, the only problem was that the festival was, if anything, too popular, with crowds sometimes too big to handle. There were doubts that Lumiere London could return, but it is, January.
However, at the risk of showing bias, Lumiere Durham remains the original and best. A light festival in a big city is all very well, but nothing beats a festival where the whole city is part of the festival. So without further ado, let’s have a look at what to expect. Continue reading →
Oh heck, is it September already? Okay, let’s get a move on, because autumn and winter tends to be my busiest season for plays that catch my eye. As always, a reminder that this should be treated as a cross-section of what’s worth seeing rather than a definitive and exhaustive list. There are always some excellent plays going on that don’t make it to this list simply because I don’t know enough about them. Check my recommendations policy if you want a longer explanation for how this works.
Right, let’s get straight to it.
Four plays make it to safe choice this time. A lot of them are plays that I saw before and loved, but plays can also make it to this list on the strength of the script or the performer if I’ve heard enough. Whatever the reason, these are plays that I’m confident you will like if you like the sound of the description of the play, and is also expected to have wide appeal. They are:
This was previously recommended in my spring/summer recommendations, but this is a play on a long run stretching into autumn, so in it goes again. To repeat this quickly, Taking Steps is unusual for an Ayckbourn play in that it’s one of the few plays of his that really only works when staged in The Round – this one being three storeys of a house all playing on the same level on the stage – so if you only see one production of this play, see this one. Just don’t expect this to be a light-hearted undemanding Ayckbourn farce, because that does exist. It runs until 5th October on various dates at the Stephen Joseph Theatre.
In general I don’t pay much attention to touring shows that have already had a decent West End run, because they get more than enough attention without my help, but I had to include this play about the satirical magazine said to be the forerunner to Private Eye. At least, that’s what Ian Hislop thinks, having penned the play with co-writer Nick Newman. With World War One possibly the lowest point in British history for freedom of the press, especially on the front line of the trenches, this sort of rag couldn’t have been popular with all the top brass in the military. Or it could have been argued as morale booster for men badly needing camaraderie to get through the war. It seems that argument won, as the magazine lasted until the end of the war with two final issues called “The Better Times”. Continue reading →
Edinburgh fringe has already started, and I still haven’t written up these recommendations. Let’s get started then. Here’s a list of things coming up at Edinburgh which I can recommend seeing for various reasons. You can find the full rules for how I choose what to endorse in my Recommendations Policy, but the main thing to remember is that is a cross-sections of good plays, not an exhaustive list. In particular, for Edinburgh I have a rule that recommendations are only given to groups I’ve seen before. I’ve heard a lot of good things about other groups, but if I was to include them the list would get unmanageably long.
No major changes since previous fringes to report this time, so let’s get straight to it. All plays run the entire length of the fringe unless otherwise noted. Continue reading →
Aaargh. I’m on my train to the Buxton Fringe launch and I still haven’t done my Buxton recommendations. Better hurry up. Apologies if you’re waiting for a review, that will have to come after this.
Anyway, Buxton Fringe 2017 is here. The most unpredictable for a long time, due to the loss of a key venue that formed a focal point for the whole fringe. For months, there were questions over whether a new venue would take its place. And when we found out the answer, the were there were questions over what this would mean for the fringe. But the development no-one saw coming was the arrival of an entirely new managed venue. Suddenly, all bets were off.
So, before I dive into recommendations, let us begin with this and look at what this could mean for the festival. Continue reading →
Here’s a brand new thing on this blog: a preview of a season of an individual theatre. For some reason, I got invited to the launch of Northern Stage’s next season. (Actually, I think this may have been the second of two launches, in which case I was on the B-list, but never mind.) So, in return, I am going to write a preview on what’s to come. Any other theatres who want this service, you’re welcome to do the same. 🙂
Just to lay down one ground rule before we begin: this is not going to be a comprehensive list of everything that’s coming up. If you want that, I think North East Theatre Guide is running their original press release. What it does mean, however, is that everything that’s listed here has properly grabbed my interest – nothing below has been included out of any sense of duty. Continue reading →