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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.
CHANGE: The painting is in Eine’s signature font – making it instantly recognisable as his work. The mural stretches 21 metres long in letters 2.4 metres high and Eine has carried out the commission free of charge for the Flavasum Trust.
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.
BAZOOKA: The French left-wing newspaper Libération was so excited by Bazooka that in 1977, the ‘graphic commando’ was offered a period of editorial control over the paper – and ran riot, offending everyone, including the incumbent hippy editorial team. Eventually Bazooka was given its own newspaper.
THE ANTI DESIGN FESTIVAL: The extroverts – the voice of the people – shout through megaphones that lurch across the ceiling on a primitive pulley and cantilever system; the introverts – the thinkers – are trying out the chairs and benches improvised from a mishmash of leftover wood and industrial stickers.
SCORCHED: A succulent story of mystery and revelation, aptly served in the enigmatic atmosphere of the Old Vic Tunnels, and garnished with the always-popular topic of war and its irreparable effects on the human condition.
CHTO DELAT? On walking in, one is bombarded with imagery, words and colour, newspapers (the collective’s published work - also available as handouts) line the base of the wall, and drawings are scattered across the white gallery wall where a woman with a fox’s head asks ‘Do you mind if I perform a history dance?”
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.
FINBOROUGH THEATRE: 'Lingua Franca', Peter Nichols’ play at the Finborough theatre until 7th August, follows the fortunes of Steven Flowers (antihero of 'Privates on Parade') in fifties Florence.
SHAKESPEARE'S GLOBE: The Henry IV plays are not really about the eponymous King. They explore the making of a monarch by following Prince Hal, the future King Henry V, from his wild youth under Falstaff’s wing through redemption, relapse, coronation and final repudiation of his old friends at the end of Part Two.
Morte d’Arthur tells of the sword in the stone, the consolidation of Arthur’s positon as King of Britain and the establishment of the round table.
SHAKESPEARE: Caught between desire and duty Antony and Cleopatra's affair shook the foundations of the world. Power politics and passion collide in Shakespeare's captivating tragedy.
TIM SHEADER'S OPEN AIR THEATRE: Arthur Miller’s classic is so engrained into the collective consciousness that I had lazily assumed I must have done it for GCSE, or maybe even played a minor puritan in a school production, but memory definitively says otherwise and, seeing it for the first time, I was taken aback by how good it was.
BARBICAN THEATRE: David Greig’s new version of 'Peter Pan' is a lot closer to J.M. Barrie’s novel than the hazy, Disneyfied idea of the story that we carry around in our collective consciousness.
OLIVIER THEATRE: In the event that Prince William's squeeze Kate, joins the British Royal Family her story will begin to resemble that of Bianca in Thomas Middleton’s 'Women Beware Women', currently in the Olivier at the National Theatre.
SHAKESPEARE'S GLOBE: 2010’s ‘Kings and Rogues’ season kicks off with Lucy Bailey’s 'Macbeth' of the damned: the Globe’s structure is perfectly suited to Dante’s seven circles of hell, right down to the Pit where the witches terrorise the groundlings before the play begins.
THE COURTYARD THEATRE: The tone is set for Goold’s Verona - in 'Romeo and Juliet' - in the violent opening scene: dark figures grapple with each other amidst tongues of flame on a black, oppressive stage and Benvolio is almost burnt alive by Joseph Arkley’s ferocious Tybalt.
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