Aliya Al-Hassan - Page 89

The British appetite for thrillers is seemingly unquenchable. Agatha Christie's The Mousetrap has now been running for 65 years in London and detective and murder mystery stories are standard Sunday night television fare. Adam Penfold's revival of Ira Levin's 1978 Broadway hit Deathtrap is obviously intended to take advantage to that public craving for a thriller. Unfortunately, after a promising start, this production fails to either shock or thrill.

Daphne du Maurier is the master of Cornish gothic storytelling and ghostly intrigue. Jamaica Inn is her 1936 novel; a haunting tale set in Cornwall in the 1800s. Following the death of her mother, Mary Yellan goes to live with her downtrodden aunt Patience and bullying uncle Joss in mysterious Jamaica Inn. She soon discovers mysterious goings on in the dead of night and deadly events taking place on the Cornish coast, which draw her in to a dark and ghostly world of murder and theft.

With the release of the Christmas advert from Marks And Spencer, we can all rest assured that the festive season is drawing ever near. Sam Holcroft's well received play, Rules For Living, gets its first revival at Kingston's Rose after a 2015 run at The National Theatre and serves as a timely reminder of just how stressful a traditional family Christmas can become.

A bereaved couple meet after a long separation. Stilted pleasantries give way to raw accusations and brutal truths. It would be very easy for Poison to be a melodramatic hour and twenty minutes of trite pain, closure and gaining the strength to move on. Thankfully this UK premiere of Lot Vekemans' critically acclaimed two-hander avoids all such obvious clich s to produce a production of immense subtlety and sensitivity.

There is always a risk in seemingly simple dramatic two-handers. Where there are no visual tricks, no impressive set changes or sparkling costumes, the whole play relies on the chemistry and repartee between the two actors. Robin Lefevre's excellent revival of Tom Kempinski's Duet For One needs no trickery to make its simple structure incredibly compelling.

Immersive theatre is a popular and fashionable way of presenting work where the audience are not passive observers, but are involved and become part of the production. After last year's inspiring performances of The Tempest, Flute Theatre's production of A Midsummer Night's Dream is their latest show, designed specifically as an immersive theatrical experience for autistic children and their families.

Adam Spreadbury-Maher has a long history with the King's Head Theatre. As its Artistic Director and co-founder of OperaUpClose, he has overseen many successful opera productions, including The Coronation of Poppea and the multi award-winning La Boh me. Set in the tiny space behind the pub bar, every production has retained an intimacy that can only be achieved when the producer has neither the space nor the cash for bigger things. This remains a unique experience for the audience and showcases opera like nowhere else.

After receiving rave reviews during its run at Sheffield's Crucible Theatre, new musical Everyone's Talking About Jamie is making the final preparations for its transfer to the Apollo Theatre in November. Broadway World UK was incredibly excited to get an early preview into how rehearsals are going for what is expected to be a new hit West End show.

It is said that Rossini wrote his most famous opera, The Barber of Seville, in three weeks, but few opere buffe remain as fresh and funny as this one. The well known plot of cunning barber Figaro's attempts to unite Count Almaviva with beautiful Rosina, as they try to outwit her elderly guardian Dr Bartolo is as engaging today as it ever was.

Playwright Gore Vidal was well placed to have in depth knowledge of what goes on behind the scenes in US politics. After all, his mother was the daughter of a Democratic senator and his father worked for Franklin Roosevelt. His interest and involvement in politics led to The Best Man, which made its Broadway debut in 1960 and received six Tony Award nominations. Set in a Philadelphia hotel during the 1960 presidential nominating convention, there is no doubt that the workings of American politics have changed somewhat since that time. To appreciate the jeopardy and drama within the play, it is worth understanding that back then, there were often many more deadlocks and last minute dramas to these conventions than now, when the presidential nominees are chosen much earlier.

Amid the horrors of the First World War, The Wipers Times is the unlikely, but true, story of when two officers found a printing press in the bombed out remains of Ypres (Wipers was the soldier's nickname for the town) and decided to produce a satirical paper to lift the spirits of the men. The paper could not print any details of the war due to censorship and so it concentrated on the absurd side of life in the trenches by lampooning the government, generals and mocking all the conditions of war.

Wait Until Dark first opened on Broadway in 1966, but many know it from the 1967 Hollywood film, where the lead role of Susy went to Audrey Hepburn, who was nominated for an Academy Award and a Golden Globe for the role.

The Railway Children holds a special place in Britain's heart; E Nesbit's well-loved tale was first published in 1905, but most of us know it from Lionel Jeffries' iconic 1970 film, which also made a star of the teenage Jenny Agutter. This new production, faithfully adapted by Dave Simpson, has given a wider national audience the chance to see this classic tale brought to the stage.

There is a profound darkness to Abigail Hood's new play, Dangling, both in look and in content. A bleak depiction of sexual abuse, mental illness and disturbing family secrets, it looks at stories of two girls who go missing, their circumstances and what happens to those left behind.

There is much about Charles Dickens' Classic tale Oliver Twist to recommend it to children; the comic pomposity of Mr Bumble, the sinister actions of Fagin, the cheekiness of the Artful Dodger and, of course, the adventures and eventual salvation of poor orphan Oliver.

How far would you go to have a baby? What and who would you overlook to make it happen? Vivienne Franzmann has never shied away from controversial subjects in her plays. The 2012, critically acclaimed play The Witness explored the exploitative nature of photojournalism and Pests was based on heroin addiction. In Bodies she turns her attention to the morality surrounding overseas surrogacy.

Before the world had an understanding of the word feminism, Charlotte Bronte was delivering a masterpiece tutorial in female independence and emancipation. Jane Eyre demonstrates that being plain and poor is no barrier to a desire for knowledge and the quest for love and liberation. The story is of an unloved orphan girl, sent to boarding school by her callous aunt. Despite a cold and harsh life, Jane eventually becomes a teacher at the school and then moves to become a governess, working for the darkly brooding Mr Rochester. The couple fall in love, but must try to overcome sinister secrets and internal battles about ethics, morality and justice.

Northern Ballet has a reputation for pioneering contemporary, narrative ballet, but this may be its most challenging subject to date. The Boy In The Striped Pyjamas has been a book and later a film, both of which have seen their fair share of controversy. In a tale praised and criticised in equal measure, nine year old Bruno, son of a Nazi commander, befriends Shmuel, a Jewish boy, through the fence of an extermination camp who wears what looks like pyjamas. When Shmuel's father goes missing inside the camp Bruno slips into the camp to help find him, with inevitably tragic results.

An Octoroon is a person who has one-eighth black heritage. In 1850s Louisiana, that meant they are automatically unclean and, ultimately, a slave. Branden Jacobs-Jenkins radically reimagines Dion Boucicault's 1859 play based upon a tragic and rather melodramatic love story between white plantation owner George and his uncle's illegitimate daughter Zoe. Entwined in this is the apparent financial ruin of the plantation, which leads to a series of racially motivated violent events.

Since its first publication as a comic strip in 1938, The Addams Family has seen many incarnations, but did not become a musical until it launched on Broadway in 2010. Now the quirky comedy based on Jersey Boys writers Marshall Brickman and Rick Elice's book, combined with Tony Award nominated Andrew Lippa's brilliantly crafted music and lyrics, sees its UK premiere.