Theatred

Reviews

Written for Everything Theatre

Oscar Wilde: proliferate poet, playwright and the intellectual behind many pearls of wisdom such as ‘a true friend stabs you in the front’. His most popular work, however, is a one of a kind; in his lifetime Wilde only wrote one novel, and that is The Picture of Dorian Gray. The story, in turn, has been adapted for stage and screen many times, sometimes successfully and sometimes less so. Unfortunately this production by Second Squire falls in the latter category.

Written for Everything Theatre

It may be tiny, but the Blue Elephant Theatre has established itself as one of the venues to keep an eye on for exciting contemporary dance. Once Upon a Midnight Dreary, part of the Elefeet Dance Festival, is no exception. Consisting of two separate choreographies, it’s a short but compelling evening.

It isn’t every day you go to the theatre to see a science fiction show. In fact, I can probably count the total amount of sci-fi plays I’ve attended on one hand. And then I’m being very generous in counting Doctor Who fan musical The Whosical in the genre as well. It’s not difficult to figure why; after all, the first things that usually come to mind when talking about sci-fi are spaceships, light sabers and special effects budgets larger than the GDP of a small country. All three of which are pretty difficult to come by in theatre.

Written for Everything Theatre

Often described as one of Shakespeare’s greatest plays, King Lear has been a star vehicle for many an established actor, like Simon Russell Beale at the National Theatre last year. Shoreditch company The Malachites have managed to bag John McEnery for their production at the historical site of the Rose Theatre.

Written for Everything Theatre

The Dead Shepherd tells the story of Christopher (or Kit) Marlowe, contemporary and fellow playwright of William Shakespeare. Whereas Will tends to get most of the credit these days, back in 1593 it was a different story: Will was the new kid in town and Kit was the big man, the ‘shepherd’ of the London playwrights. When Will goes to Kit looking for help with his play Henry VI, it quickly becomes apparent that Kit’s taste for trouble goes beyond the stage; he is also a spy, and he’s involved with a dangerous secret society of scholars and atheists called ‘The School of Night’. Then the new Secretary of State, the straight-laced Sir Robert Cecil, arrives, and unlike the rest of London, he’s not a fan of Kit’s . . .