A Small Mind At The Theatre

There have been quite a few productions of Andrew Lloyd Webber and Tim Rice’s groundbreaking musical since first appearing in one form so many years ago back in 1968, and the West End from 1973, you wonder whether there is still room for another tour. Well, judging by the audience packing numbers at Milton Keynes, it appears so. However, does this new production, first seen at The London Palladium in June 2019 successfully honour such a show history? For those unfamiliar with Joseph and the Amazing Technicolour Dreamcoat , it tells, in a very frivolous, music genre-hopping style the story of Joseph, Jacob’s favourite son. Somewhat hated by his brothers, he ends up being sold into slavery to an Egyptian nobleman, and then, well, see the show and find out the rest. This new production breaks somewhat from the norm of productions of the past and attempts to create something different for a new generation of theatregoers, and perhaps, this heralds both its strengths and weaknesses. Bold de

There is no doubt many people are unfamiliar with Jacques Tati's works; they are so far in the past, and perhaps so much of their time, they get little airtime now. However, at least for a brief period, Royal & Derngate via their Made in Northampton series, has recreated them as a stage adaption of Playtime , perhaps the most famous of Tati’s films, for a brand new audience, or one that is old enough to remember them originally. The story behind Playtime is that there is no story. It is a world of events just happening, and an observation of many characters going about their business. However, there is a thread across the play of course, even if a play has no story it still needs a cause of motion. So, we see the arrival of passengers at Paris airport, their journey to an Expo, their visit to a restaurant, and finally, at the very end, back at the airport, and departures. Along the way, we meet a bewildering number of characters and witness a few burgeoning romances. And that i

To describe Trainspotting Live as an intense performance feels almost like an understatement. This is perhaps one of the most full-on plays you could witness, and to call it a play therefore feels wrong as well. What we have here is an experience. As a theatre goer to this production, they present you with maybe the longest list of warnings you might get from a show. Featuring nudity, drug taking, feelings of claustrophobia and swearing among them, Trainspotting Live has it all and more. First presented in this format at Edinburgh Fringe in 2014 by In Your Face Theatre, Trainspotting Live offers a condensed version of the cult 90s Danny Boyle film, framed by an opening ten minute rave with the cast. This opening section assaults your senses and breaks down much resistance for the story that unfolds next. A sharp and perfect fit 75 minute show which probably features about 60 minutes of storytelling, and the rest “experience”. The cast cajoles, man handles, and intimidates its audie