Profound in its harrowing and bitter sweet ending, Les Miserables on stage at the Norwich Theatre Royal was a rebellion of outstanding performances.
Most certainly a musical of our time.
An intense and intimate spectacle, brought to life with beautiful words and music, and some amazingly up-close performances from four opera singers that we would normally be watching and listening to from seats in the stalls or circle of the main theatre auditorium.
The most enjoyable and engrossing opera that I have attended in many a year,
Scintillating and spectacular!
The feel-good musical that you will want to see over and over and again
In the words of the famous Norwichonian Delia Smith “Let’s be having you come to see my show!" on the 16th June
· What power do you believe theatre holds?---- It is live. Real people perform in front of real people. It is dynamic and present in the moment for both actors and audience. Therefore, every performance in a production is different.
Tomorrow, (30th April) Alasdair will be bringing ‘Nevermore’ to the Norwich Playhouse, promising audiences a night of wacky and witty comedy!
The abiding message was the longevity of the natural world, notwithstanding its perilous state, and how ephemeral is the part we play in it.
If, like me, you love contemporary dance, where else (outside of London) would you need to be?
Three words to describe the production Romantic, tragic and uplifting.
The tale of orphan Annie's search for her real parents is given a refreshing, and perhaps more intimate, makeover, and brings together a cast brimming with energy and enthusiasm.
For lovers of modern classical ballet, and for lovers of everything Brontë, this is an absolute must-see production.
A stunning and spectacular production.
What have we come to, when someone is threatened with violence for speaking their mind so often that they make light of it?
Cheish Merryweather was keen to emphasise the value of critical thinking, investing her audience with a dignified, sober reflection on the machinery of justice, but she was canny enough to indulge a more scurrilous fascination with the macabre. It left me feeling a little uneasy that horrifying photography and unnerving reconstructions were being presented for our entertainment, not least as I found myself being entertained.
Despite its sensational title, Killer Cults was a relatively sober examination of what makes a cult leader, and how a literally fatal combination of narcissism and psychopathy can lead to disaster.
This was an outstanding night of well structured, faultlessly executed, comedy/performance art and credit is due to the Theatre Royal for opening up a space for such an exhilarating, genre defying show.
I say "cosy" not in a snide or condescending way, but because it's simply the best word I can think of describe the warm hearted disposition of the man whose company felt like time spent with the uncle everyone wishes they had.
I was frequently amused, and remained engaged throughout, but I don’t think that I was able to indicate my appreciation in a particularly audible way. Hopefully this message will go some way to redressing this, as I am confident that I will remember last night for far longer than the other meetings I attended this week.
If a comparison is needed then imagine the puns of Tim Vine, the lunacy of Spencer Jones, the relentlessness of Gary Delaney, and the sight gags of the late, great Tommy Cooper.
Extravagantly queer and dramatically hilarious, Kate Butch runs up that stage at Norwich Playhouse theatre with live singing and a superb performance.
Free Mason is a refreshing departure from the relentless punchline-chasing of mainstream stand-up. Mason offers something intimate here and more textured—a carefully observed patchwork of life’s smaller, stranger moments.
Is it something we are all aware of but just put at the back of our minds? See the take of our reviewers ...
Get an insight to the Spitting Image co-creator Roger Law