Shining City is a cross between a drawing room drama and a play by Pinter, complete with pregnant pauses. Replace the drawing room with a therapist’s consulting room, add a ghost and a touch of postmodernism, and you get the picture.
Shrimp is more than merely a play. It is an experience: both an aural and visual journey, a travelogue, an autobiography of a life so far, an insight into the mind of a trans-racial adoptee and a tale told vividly with every part of his body
Alice, a former actor-turned-care worker, and Tom, who's still acting despite himself, are in a convenient but complacent relationship, not so much in love as in limbo.
This is a tragic/comic inspection of viciousness, the process of writing and the getting of inspiration, all set in the somehow twin worlds of a totalitarian dictatorship and of fairytales.
Checklist for an Armed Robber remains an ambitious and compelling piece. Its shortcomings, while not negligible, are considerably fewer than its strengths.
It’s been almost 15 years since The Book of Mormon premiered on Broadway and even longer since Joseph Smith ‘discovered’ the golden plates that provided the inspiration for the show.
However earnest and inarguably lovely it is to look at, the pedestrian sexual indulgence and relationship traumas of New York 'A' gays penned 9 years ago doesn't feel particularly urgent.
Capturing the essence of its predecessor, Heathers The Musical is an absurdly comic production that doesn’t just walk the line of polite society but plans to blow it all up with reckless abandon.