Theatred

Reviews

Richard III: 15th century, hunch-backed Frank Underwood or a pretty decent guy? In Good King Richard the clue is in the title, and Golden Age Theatre Company set to work to rid the much-maligned monarch of the lingering reputation Shakespeare bestowed on him. Through flashbacks we see Richard’s rise to power, from protector of the north to reluctant king, and the problems he faces. While his brother’s scheming wife Queen Elizabeth tries to create confusion in the ranks and liaises with France, Richard tries to do the best for the people of England, even if that might end up costing him the support of the rich lords and ladies.

Written for Everything Theatre

Mental health. It’s not a particularly sexy topic. It IS a particularly complex one. These two qualities leave no doubt as to why it’s not exactly a beloved subject among theatre makers, or anyone in the arts really. It’s hard to get it right, and very easy to get it wrong. But greater understanding can only come from trying (and, occasionally, failing), which is why it’s very important that people like playwright/director Chris Mayo take it on anyway.  

Written for Everything Theatre

Double bill Lost and Boundless is the very first performance from the newly formed contemporary dance group Genesis Ballet Company. Founder and artistic director Ricardo Cecílio has used his own experiences in creating the first piece of the evening; Lost is about losing sight of your goals, wavering and, finally, finding your way back. Cecílio’s second offering, Boundless, is far less abstract, presenting the audience with a different take on Romeo and Juliet. In it, we see the young lovers miraculously arise from their faked deaths and encounter the difficulties that come with having the actual normal-people relationship the Bard never let them have a crack at.

Written for Everything Theatre

Usually, when I go to review a show, I like to go in without too much prep work. And sometimes that leads to surprises, like in this instance: when I got on my bike to Hampstead for a seven o’clock performance involving two Lewis Carroll characters, I assumed it would be a family show. How wrong I was. Fortunately, however, that wasn’t a bad thing.

Written for Everything Theatre

One can hardly imagine two more different shows than the angry, testosterone-fuelled punk musical American Idiot and Annie, the saccharine Christmas fairytale. And yet, they do have something in common: they’re both currently playing at the Arts Theatre, just off Leicester Square. Although no one could blame if you didn’t realise this, because the whole theatre is completely done up American Idiot style. That’s because the other show there is not actual Annie but Annie Jr, an amateur production of the Broadway favourite in which all roles are taken on by the children and young adults of performing arts programme P2P.