In the climax of the Crucible’s much-anticipated Michael Frayn season, Democracy catapults the audience straight from the domestic backdrop of Benefactors to the testosterone-fuelled politics of post-war Germany.
In the climax of the Crucible’s much-anticipated Michael Frayn season, Democracy catapults the audience straight from the domestic backdrop of Benefactors to the testosterone-fuelled politics of post-war Germany.
Armed with the infallibility of a flawless script, little can go wrong with a Michael Frayn play. Add to the mix impeccable performances from Rebecca Lacey and Andrew Woodall, and the silky-smooth direction of Charlotte Gwinner, and the result is a near-flawless production.
1. Tell us a little bit about the festival, what can we expect?
Ahead of his longest tour yet Doug Stanhope talks to Rowan Ramsden about politics, alcholism and the downside of being on the road.
Whilst it can feel somewhat patronising to have a bunch of tokenistic pieces from London galleries thrown at Yorkshire art exhibitions, The Family in British Art has been carefully curated to make the collection feel inclusive and pertinent while still retaining an air of the awe-inspiring.
Recounting the lives of one of the most famous literary families in history, SuTCo performs Brontë by Polly Teale, a biographical play which follows a family stricken by continual hardship, isolation and sorrow.
The Lantern Theatre’s profesional debut Order.
The Beatles in Hamburg gives you a whirlwind tour of some of the most exciting, character forming and musically demanding years of the young performers lives.
Ventriloquism isn’t dead. Fuse sees why.
Opening with an infectiously chirpy number entitled ‘Omigod You Guys’, you wouldn’t expect Legally Blonde: The Musical to deliver a particularly deep message. But deliver it does.