Franco Milazzo - Page 11

To paraphrase Henry Wadsworth Longfellow, when Mandela is good, it’s very, very good, and when it’s bad, it’s almost unwatchable.

Sir Matthew Bourne’s Sleeping Beauty debuted in 2012 to mark the twenty-fifth anniversary of Bourne’s New Adventures company. Ten years on, the celebratory production is now in its own turn being celebrated.

Those who deride this particular vision of Handel’s masterpiece as being inauthentic should be locked in some stocks and pelted with facts.

Drag queens are rarely charged with the crime of being understated so it is hardly surprising that San Fran’s Peaches Christ and her co-host Edwin Outwater chose to partner up with the Royal Albert Hall for the UK debut of their perennial Christmas show.

This versified version of arguably the greatest Christmas film ever is a seasonal highlight.

“Under capitalism, man exploits man. Under communism, it's just the opposite.” Attributed to Nobel Prize-winning economist and Ali G interviewee JK Galbraith, this is the phrase that rolls around my head as I venture into the Crystal Maze-like Monopoly Lifesized, a highly entertaining take on arguably art’s single greatest monument to the pursuit of personal wealth.

With a CV that includes drag, opera, musical theatre and live art, Le Gateau Chocolat is a cabaret legend who escapes categorisation even if it is relatively easy to put your finger on just why he is so entertaining.

When Elf The Musical last set foot in London, the critics noted its family appeal, the syrupy content and the extortionate ticket prices. Has much changed this time around?

The Snowman and Christmas go together like bad weather and TfL apologies so it's unsurprising that this adaption by the Birmingham Repertory Theatre of Raymond Brigg's seminal 1978 graphic novel is returning to Sadler's Wells' Peacock Theatre.

Peering through a queer lens with cabaret stylings, Linus Karp brings Diana’s herstory to life through puppets, video and some very spot-on outfits.

What did our critic think of PICKLE at Park Theatre?

While ostensibly in the same bailiwick as Constellations and Lungs, Anything With A Pulse is far more of a white-knuckle ride into the heart of a modern source of darkness.

When it comes to London Christmas stage institutions, there’s an argument for saying that La Clique now deserves a place alongside Handel’s Messiah, A Christmas Carol, The Nutcracker and Mother Goose.

Cutting edge technology and a witty script combine in this play which pushes the boundaries of what can be considered theatre.

David Farr made his name in 2016 bringing John le Carré's book The Night Manager to vivid life in a hit TV adaptation. In his latest play A Dead Body In Taos, re-animation is again the name of the game.

Jordan Gray is having one hell of a year. Five-star reviews at the Edinburgh Fringe have led to a run at Soho Theatre, a controversial slot on Channel 4’s Friday Night Live and the chance to work on an ITV show with Simon Pegg and Nick Frost.

Choose Trainspotting Live for an unforgettable experience. The good kind.

If Irvine Welsh had been born in England and written Trainspotting while sat in an old school boozer high on molly, this show may very well have been the result.

Those searching for proof of George Bernard Shaw's view that dancing is “a perpendicular expression of a horizontal desire” need look no further than this show.

“Keep it pretty, keep it shallow, keep it moving.” As well as being words that American cabaret singer Justin Vivian Bond (pronoun v) lives by, they go some way to sum up Only An Octave Apart, this eye-catching and pacy two-hander with Grammy-winning countertenor Anthony Roth Costanzo.