Cindy Marcolina - Page 51

The Last Five Years recounts Cathy and Jamie's five-year long relationship. With music, lyrics, and book by Jason Robert Brown, it's an intricate work: while Jamie narrates his side of the tale in chronological order, Cathy's is flipped, going from the end to the start of their happiness together. The characters interact only once in the middle of the show, when their timelines converge for the span of their wedding song ("The Next Ten Minutes").

Dennis Potter's 1976 work finds new life with Matthew Parker. Written as a television play but never broadcasted due to its disturbing plot, it was finally produced at the Sheffield Crucible in 1977. Now, 40 years later, its revival is unsettling and relevant as then.

Even the toughest heart of stone will turn into a paper heart with Liam O'Rafferty's new musical. After winning over audiences in 2016 during Edinburgh Fringe Festival with its 75-minute version, the show has now grown in a two-act, fully developed, heartwarming, and uplifting piece of theatre directed by Tania Azevedo.

Andy Bewley directs Joe Mackenzie's mostly disappointing but highly energetic adaptation of Shakespeare's tragic tale. Set in a universe where football is almost considered a religion, Romeo and Juliet are young men whose forbidden love threatens the foundation of their two families.

Set in a Nazi-dominated Germany in 1941, Stephen Unwin's debut play is an affecting examination of humanity, hypocrisy, and morality.

The inaugural production in the refurbished Bush Theatre's new studio space is the latest play from Barney Norris. Directed by Alice Hamilton, it's a searching exploration of loneliness and reunion set against a sympathetically drawn south-of-England backdrop.

During its celebrations for Canada's 150th birthday, Finborough Theatre sees the premiere of Late Company. Jordan Tennahill's play is a poignant reflection tackling bullying, sexuality, and teenage suicide from the point of view of the ones who survive the victim.

After breaking up five years prior, Charlie (Samuel Lawrence) writes a quite melodramatic letter to Vic (Katharine Davenport), his ex-girlfriend, confessing how he is dead inside, and how he almost feels as if he were rotting away. He is a medical mystery, his heart is not pumping any blood and his organs are de facto dead.

Bill Rosenfield premieres his play 46 Beacon in the United Kingdom with director Alexander Lass at the helm. His tale of identity, pride, and becoming is warm and viciously funny at Trafalgar Studios.

In the Barbican's vast space, Cheek by Jowl presents their formidable, modern-dress take on Shakespeare's account of blind jealousy, suspicion, abandonment, loss, and young love. The company is back for the first time since their 2015 Measure for Measure, as part of a new global tour.

Written and directed by Adura Onashile, Expensive Shit is not afraid to show an uncomfortable truth. Going back and forth between Lagos in 1994 and Glasgow in 2013, the play revolves around Tolu, a toilet attendant, and her relationship to women and men around her.

Celebrating the 150th year from its first production, Caste at Finborough Theatre is an underwhelming classist act with a polyester feel.

Music is the centrepiece at Hadley Fraser and Will Butterworth's show at Zedel. During the evening, they revisit classics - ranging from Broadway's beloved Stephen Sondheim, and touching Paul Simon, Harry Connick Jr, Nat King Cole, and Stevie Wonder - as if Tony Bennett and Bill Evans were to produce the arrangements.

Premiering in the United Kingdom at Southwark Playhouse, Glenn Waldron's Natives is a brilliant view onto what it means to grow up as a millennial, and it shows the perils precluded to anyone who isn't one.

Directed by Phil Willmott on the ever-changing Finborough Theatre's stage, Incident At Vichy is impactful and thought provoking.

The May Fair Hotel welcomed a vast array of women ready to celebrate their fellow sisters' achievements in the British theatre world on Wednesday 26 March.

Leon Fleming tackles mental issues, family, poverty, struggle, and hope in his new play Kicked in the Sh*tter. Her (Helen Budge) and Him (James Clay) - brother and sister with an unprivileged upbringing of poverty - show what it means to live in a constant state of instability caused by depression and anxiety, in a place where everyone seems to be against them. It is through their eyes that Fleming's audiences see the actual overwhelming despair that comes when everything becomes too much to handle, and the play becomes a relevant, valid depiction of mental illnesses told in sincerity and with a no-nonsense attitude.

Pop-up Opera are back with a new take on Vincenzo Bellini's I Capuleti e i Montecchi. Shying away from an elitist view of one of the composer's most notable works, the company created an accessible, unpretentious, and smart production.

Counting credits including We Will Rock You, Wicked, and The Last Ship, Rachel Tucker shows off her vocal range brilliantly, but she is ultimately underwhelming at her limited intimate solo shows at Zedel, giving the impression that a lot more could have been done production-wise.

For Eva (Gina Isaac), Aditi (Ulrika Krishnamurti), and Dr Gupta (Syreeta Kumar), the first's desire to have a baby has three distinct meanings: the achievement of a lifetime, a way out of poverty, and capital. Set in a clinic in Gujarat, Western India, these three women come to terms with the politics, economics, technology, and ethics of surrogate motherhood.