In the know? Seen a great show? Think you have a better idea?
Hit the contribute button now to share your story
Become an ArtsHub member
Do you want to drive awareness of your event to an engaged audience?
Showing all Performing Arts news in Reviews
An historical martial arts epic that is both frenetic and contemplative.
Punchdrunk teams up with the National Theatre to create a compelling piece of immersive drama.
A charming production based on Michelle Magorian’s popular children's novel, about the friendship between a London evacuee and an elderly recluse.
THE OLD VIC: Sam Mendes directs Kevin Spacey in this bravura production of Shakespeare’s timeless play.
FRINGE WORLD: A comedic thesis in pop dialectics covering the great pairings from Brandy and Monica to Freddie Mercury and What’s-her-face Operabitch.
CHRIS POTTER: A musical prodigy who had his first professional jazz gig at the age of 13, he was also the youngest recipient ever of the prestigious Danish Jazzpar Prize, which is one of the most respected awards in the jazz world.
THE TRAIN DRIVER: There’s a shock, or a twist at the end of the play, which I won’t spoil by revealing here. Suffice to say, it sent chills down the spine and was not expected.
You cannot help but be shocked reading the premise for this play. In December 2000, a 35 year old South African woman stood in front of a train holding her three young children and waited to die. When her 5 year old son
MACBETH: Song of the Goat seek to conjure a complete theatrical experience by engulfing Shakespeare’s text into ‘the ceaseless flow of energy of the actors in performance’.
FEAR OF QUEER: It was an ensemble piece where every player performed well and, although this review has only mentioned two for simplicity, everyone involved gave a fantastic performance. It was clear that the play had been rehearsed for a long time.
BLASTED: has not been performed in London for nearly a decade but with Sean Holmes’ production at the Hammersmith Lyric it seems it has finally found a suitable home with a terrific cast to boot. Let’s just hope that this play continues to amass the recognition it rightly deserves.
BLOOD AND GIFTS: The impressive play script is animated magnificently by a stellar cast. The lead is the largely unflappable and shrewd American CIA agent, James Warnock (played by Lloyd Owen), whose Achilles heel is his problematic belief that “doing the right thing” should be fundamental to US foreign policy.
DEATHTRAP: Rob Howell’s set design is truly terrific. The staggered geometry of the one room in which all the action takes place is incredibly well thought-out and with Bruhl’s festoonery of weapons all menacingly placed above the action, adding tension to the piece.
KRAPPS LAST TAPE: Beneath its deceptively superficial exterior the play is the most poignant of Beckett’s oeuvre – full of autobiographical allusions – and a complex and cathartic treatise on the relationship of memory to self and the (quite literal) cyclical nature of existence.
BROKEN GLASS: The ‘political’ in Miller, and all good playwrights, is expressed on the stage through the decisions certain people make when faced by certain obstacles in certain environments. It is achieved through human behaviour, in other words – the true medium of expression of the theatre. It is not achieved by crowbarring thinly-veiled manifestos into the characters’ verbal exchanges nor by m
DEPARTURE LOUNGE: Why do we say gay, what really happened that Thursday evening on a pub crawl night out in Malaga and how can a picture book replace a family? Spotlight on a group of young school leaver Brits on tour stuck in a Spanish departure lounge due to flight delays. As their boozing and bonking boys’ holiday comes to an end and they anticipate their A-level results, JB, Pete, Jordan and R
LES MISERABLES: It’s worth the ticket price just to hear Owen Jones sing ‘Bring Him Home; and if you aren’t, at the very least, blinking furiously by the end then make an appointment at your local hospital to get the stone surgically removed from the place where your heart should be.
THE EAR OF A DRUNKEN MAN: The songs are short, melodic but pared-down, bleak but ultimately hopeful. It’s an intense and deeply personal affair, but somehow it’s also very accessible.
OLIVIER THEATRE: Toby Stephens is at his imperious best as the swaggering, eponymous hero while Eliot Levey very nearly steals the whole thing with his complex, compelling portrait of a sociopathic Robespierre.
REGENTS PARK: A musical amalgamation of fairy tale characters in which Red Riding Hood encounters Cinderella, Rapunzel, a witch and a bigger, badder Wolf than most of us will remember from childhood.
OLIVIER THEATRE: Moira Buffini’s Welcome to Thebes re-imagines the disastrous aftermath of the fall of Oedipus in a 21st century environment by replacing Theban King Creon with his wife Eurydice.
Advertise your event to a captive audience
Maximise the visibility and reach of your brand and events by advertising with ArtsHub. Spread the word to an engaged audience.
Become a British arts industry insider by joining ArtsHub - the one-stop-shop for the latest industry news, jobs, what’s on and much more.
Become a member this month and save 20% off your Annual ArtsHub Membership.
For less than $2.30 per week now is the best time to join Australia’s largest arts network.