Author: Fran Yeoman
This would have been a better play with just two people in it.Read the full story..
There are occasions in theatres – I find they also occur sporadically in art galleries and are virtually guaranteed at the opera – when one wonders whether the failing is mine.Read the full story..
Miracle on 34th Street was always going to be a commercial banker for the Liverpool Playhouse.Read the full story..
Playing a straight role in panto can be a thankless task, and the programme cover and posters for this year’s festive offering from the Liverpool Empire make it clear where the production’s priorities lie.Read the full story..
Playwright Rona Munro tells us in her forward to the programme for Mary Shelley’s Frankenstein that she has a “visceral aversion” to analyses of a writer’s work that use their biography “to interpret the stories they told”.Read the full story..
It takes a particular kind of grace to be captivating while performing the role of a spiteful drunk.Read the full story..
When after 15 minutes a six-year-old Snow White in the adjacent seat politely enquires as to whether she can have a sandwich, you know that the current iteration of Disney on Ice is not quite as captivating as it might be.Read the full story..
Stage adaptations of Julia Donaldson and Axel Scheffler’s hugely popular children’s books are so ubiquitous these days that they should probably be categorised as their own sub-genre of theatre.Read the full story..
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