Franco Milazzo

Finding the funny in one of Europe’s most violent episodes of political tumult, YESYESNONO’s The Glorious French Revolution (or: why sometimes it takes a guillotine to get anything done) is a riotous romp.

Whether on the news or on Netflix, dystopia seems the theme of the year. With a disturbing score from Max Richter, Wayne McGregor’s enthralling and infuriating interpretation of Margaret Atwood’s Maddaddam trilogy is a panoramic work that peers into a future which is all too plausible and none too palatable.

Returning to the West End La Clique is back with a new cast. After two decades of presenting some of the finest vaudeville talent around, is this the beginning of the end or the end of the beginning for this cabaret institution?

Smashing together tap dance and film noir, Romain Rachline Borgeaud’s Stories is wrapped around an immersive form of storytelling. Is the world ready for tap noir?

With cabaret, sometimes it isn't about the singer, or the song, but the singer singing the song while bouncing a drumstick off a trio of skulls. Perfectly timed for Halloween, Monica Salvi’s Spirits In My Closet is a witch’s brew containing personal stories and the supernatural musings interspersed with songs written by Tori Amos, Randy Newman and Screamin’ Jay Hawkins.

There’s no shame in pulling an old favourite from the vaults but Jonathan Miller’s 1982 gangster-themed production is firing blanks in this latest revival.

Jarvis Cocker singing torch version of Tina Turner’s “Private Dancer”? Peter Serafinowicz doing an Elvis Presley impression for half an hour? In the Royal Albert Hall on a rainy Monday night? Welcome to the world of Chilly Gonzales, one of the most unique musicians around as he comes to the capital to promote his latest collection Gonzo.

James Cameron’s Avatar was this weekend the latest to be screened at the Royal Albert Hall as part of their Films In Concert series.

Featuring works as diverse as Michael Nyman’s “Strong on Oaks, Strong on the Causes of Oaks” and Felix Mendelssohn’s “Overture” from A Midsummer Night’s Dream, Sinfonia Smith Square’s environmentally-minded concert The Orchestral Forest is an enchanting sonic experiment.

Ever wanted to captain a spaceship on a mission to explore strange new worlds, seek out new life and new civilisations and perhaps shoot up some enemy ships along the way? With the aid of a shiny new £3.5m set, Parabolic Theatre’s Bridge Command realises every sci-fi geek’s dream.

As much a persona as a musician, the Canadian rapper and classical pianist Chilly Gonzales comes to the Royal Albert Hall on 28 October to promoting his latest album Gonzo with special guest Jarvis Cocker and Peter Serafinowicz as Elvis Presley.

With tickets costing £400 each and a storyline stretching over 24 hours, is Lemon Difficult’s The Key Of Dreams the ultimate in immersive theatre? 

Watching this reboot of Immersive 1984, a thought comes to mind: if, as we’re constantly being informed, we’re all living in the post-privacy, post-truth and post-politics world foretold in 1984, aren’t we already inside an immersive version of George Orwell’s seminal book?

Based on the 2017 hit film about PT Barnum, Come Alive! The Greatest Showman Circus Spectacular is an immersive mishmash of circus, story and song that somehow manages to do a disservice to all three.

As his latest production Theatre Of Dreams amply demonstrates, it’s probably easier to pin strawberry jelly to a wall than to precisely pin down Hofesh Shechter’s exuberant full-on style.

This month sees the grand arrival of Come Alive!, a live blend of circus and musical theatre inspired by the 2017 film The Greatest Showman.

A self-described 'independent space warrior' from Sigma IX, Count Binface is becoming something of a political institution.

Tom Cruise made a surprise appearance at a screening of his recent hit Top Gun: Maverick, screened at the Royal Albert Hall as part of their Films In Concert series.

Charles Mingus originally intended for his iconic 1963 jazz album The Black Saint and The Sinner Lady to be accompanied by dancers and, thanks to performance company Clod Ensemble and the Nu Civilisation Orchestra, it becomes the inspiration for a vibrant and inclusive show.

Describing a Blue Man Group show after just leaving one to a person who has never seen them may feel like sticking jelly to a wall: messy, futile and you might be feeling a bit sticky.