Birdsong staged scenes as powerful as I can recall ever seeing in a theatre, offering a coherent and deeply moving account of bravery in war, the damage war does, and most fundamentally, the wretchedly pointlessness of it all..
Read full Article >Given that the stage version of Murder on the Orient Express is an entirely new play, one might have expected great liberties to be taken but the reverse was the case - there was an evident reverence for the source text apparent throughout Ludwig's adaptation that tiptoed lightly over the darker themes of Christie's novel, preferring instead to focus on flashes of humour and the cosy familiarity of a tale retold.
Read full ArticleGiven the acrimony of Brexit, covid vaccination and even the recent Lucy Letby controversy, far from feeling dated, the play feels surprisingly relevant – an exemplar of what happens when we lose the ability to disagree civilly, instead content to take lumps out of family and friends with little regard for the consequential fallout.
Read full ArticleI dare say that my memory of the TV show itself is rose tinted, but if wallowing in nostalgia is an inexcusable crime then I plead guilty, as critical facilities crumbled in the face of a production that was simply, and unapologetically, silly good fun.
Read full ArticleThere's no denying this was a musical and visual spectacular to satisfy the most jaded of palates. In writing this, I've had to wrestle with the jumble of songs now roaming my brain as conflicting ear worms do battle.
Throughout the near two-hour performance I’m rapt. I leave the Theatre Royal grateful to have witnessed such an assured, skilled and thoughtful act.
For all his ribald profanity, Gamble is an unusually old fashioned comic, building up mental pictures in the mind of an audience from a grain of truth, who then laugh loudest at situations that, but for the grace of God, go I.
Dispensing with the notion of a support act, we collectively jumped into the deep end, as he homed in on the brave souls on the front row. It's not unusual for a comic to break the ice with a bit of a chat with the audience before launching into the act, but it quickly became apparent this was the act. At times, he seemed less like a slick comic, and more like the funniest mate down the pub.
Often, theatre is a device for escaping our troubles, and I suppose there's nothing wrong with that, but for those of us that yearn for more nourishing fare, it's good to know something reliably substantial is still being served up on a China Plate.
Tom Allen is the master of the pointed question, the cheeky put-down and the witty response
The costumes were impeccable, the cast formidable and the set often reminiscent of early 20th century paintings. All this, coupled with Dame Agatha Christie’s expertly-crafted dialogue, certainly did a great job of plunging us into this fascinating, long-gone past.
Such was the atmosphere generated, it was easy to imagine, out the corner of your eye, that you caught a glimpse of the eponymous Woman, such was the descriptive power of the text. Who would have thought that possible with only two actors on a bare stage?
Despite ambitions to be the enfant terrible of British art when he won the Turner Prize in 2003, Grayson Perry is officially a National Treasure. His recent reinvention as an investigative explorer of countercultures and communities, albeit in his civvies, offered a clue as what to expect from his live show. What I didn't expect was for him to break into full throated song.
First staged forty years ago, Michael Frayn's Noises Off continues to be performed all over the world, and continues to have audiences howling with laughter. With Norwich only its third outing, I got the sense the cast had not yet entirely settled into their roles, but for most part this was a thoroughly entertaining, and mercilessly funny, night at the theatre.
Anyone under the age of thirty must find it bewildering that such a prosaic misdemeanour is even remembered, let along dramatized for the stage. And yet its grip obstinately refuses to let go. It’s a testament to the quality of Graham's writing that the show was not only entertaining, but gripping, with an ability to surprise in spite of its well-trodden path.
I don't think I can recently recall seeing a play that so exactly matched my expectations, which was for a jolly night out watching hokey nonsense delivered with style and brio.
The attention to detail with the setting, the symbiosis of the puppeteers married in with the lighting and corresponding sound effects was mesmerising and of course the performance led by the characters themselves ........
Rocky Horror is celebrating diversity, inclusion, sexual and social liberation and much much more- go and see this show by any means necessary! 10/10
'The Bodyguard' is one of the most joyous musical experiences to have visited Norwich Theatre Royal in many a year. 100% recommended.
This is definite must-see show. Hats off to Stephen Crocker, and the whole of the Norwich Theatre team, for the courage and conviction to co-produce this wonderful show together with the Buxton International Festival.
And what a moving and powerful performance it was
Plaudits are due to the RSC for performing and touring Julius Caesar, challenging in its structure and content, but while this was a bold attempt to enliven a problematic play, ultimately the embellishments employed buried the narrative under the weight of stage trickery.
It’s all too easy to sneer at old fashioned entertainment, and old- fashioned entertainers for that matter, but there seemed a lovely bond between everyone on stage. They are all such consummate pros I suppose that could be confected, but I don’t think so.
The intermingling of tragedy, comedy, tongue and cheek, raunchiness, seriousness and heart wrenching drama was simply magnificent to behold and the energy of the entire performance remained high octane throughout.
....'Sleeping Beauty remains an iconic work, a gothic romance brought to life with all the charisma, charm and wit that we have come to expect from Sir Matthew Bourne
Derren Brown, as he so often does, wrapped things up in a broader theme, this time daring to reveal more of himself that we're used to. His humanity has rarely been in doubt, but here we saw some of his fragility when faced with personal trauma, adding emotional heft to his accomplished stage craft
Clive Mantle's villainous Curtis lit up the stage, injecting much needed energy into the night with a performance that was both menacing and funny. He got all the best lines too, as if Shaun McKenna had finally got his teeth into a character of substance.
And thank you, Varna International Ballet, for your first visit to our city. It was an absolute delight to have the opportunity watch you perform. Please, please, please, come back soon.
A two year delay but well worth it ........
This was phenomenal.
There was much to enjoy in Rachel Wagstaff’s adaptation of Agatha Christie’s classic novel. Susie Blake was excellent as Miss Marple, the plot was pleasingly convoluted yet neatly resolved, and there were some genuine laughs along the way. What a shame it had to be viewed through the prism of Philip Frank's pedestrian direction.
The Color Purple was not like any other musical I had seen before. It was both raw and funny, sad but uplifting and even made me question my own morals.....It is a performance I would recommend without question.
This was one of only five outings for this world class collaboration, and I’m still scratching my head how we got on the short list. Whatever the reason, hats off to whoever at the Theatre Royal bagged with one.
So what did our reviewer make of Les Mis?
If you have never seen The Nimmo Twins, then you better be bloody quick. Their run of shows at Norwich Theatre Playhouse sold out yonks ago. If you are quick, you might be lucky as they are doing a one-night-only show at Norwich Theatre Royal on August 23rd. If not, just “keep on troshin”.
not only are the key cast magnificent, but the entire ensemble of dancers, singers and musicians deliver a truly scintillating performance
“We are spared the graphic horrors, but the message hits its target with dramatic precision”
Fantastic costumes, fantastic choreography, fantastic performances, and fantastic songs. What more is there to say? This production of Dreamgirls is simply supreme, supreme, supreme!!! (There, I said it. Sue me if you dare!)
"With James Conway's direction and Gerry Cornelius' conducting, 'The Golden Cockerel' is most definitely in safe hands"
Les Patterson was an ungracious slob, and while Edna softened in her dotage, it’s worth remembering how she longed to turn Norm’s life support off. Both revealed a cruel streak that ran through Humphries work, perhaps born of the days when he was the bully, not the bullied
"There is no one to match her, both with regard to her technical ability and her brilliant improvisational skills. Ironically, she is such a good ventriloquist it's all too easy to forget that everything funny happening on stage is coming out of her head and her tight lipped mouth."
This was a great show, well written, well acting, and one which explored challenging themes. How to top that? The answer was in a tiny epilogue, which those hasty to catch the last bus home might have easily missed. To say more would be spoil a lovely surprise, but I will say it left a big, fat silly smile on my face.
For a crypt-kicking delight of an evening, The Addams Family are your perfect ghoulish hosts.
....nothing could have prepared me for the spectacle and passion of this version of the Leeds Playhouse production, currently playing at Norwich Theatre Royal.
As a classic drama about love, lust and conflict, 'Private Lives' still takes some beating.
Make sure that you don't miss out on what will almost certainly the best feel-good night out (or matinee) on offer in Norwich over the festive season.