The Frogs. Review by Barbara Lewis. The time is now. The place is ancient Greece. So begins this extremely freely adapted version of Aristophanes’ “The Frogs”.
theatre
The Big Bite-Size Breakfast Show. Review by Barabara Lewis. The Big Bite-Size Breakfast Show is a mood-enhancing, life-affirming start to the day – and after an 18-year run at the Edinburgh Fringe and an 11-year absence from Brighton, where it began, it is back on the English coast.
Peter Grimes. Review by Barbara Lewis. In difficult times, it would seem, people crave total escapism – or deep catharsis from confronting our own failure as humans and society.
Here We Are, by Stephen Sondheim. Review by Graham Buchan. The production of a new work by Stephen Sondheim is a significant event in any cultural calendar.
Chicago. Review by Barbara Lewis. Born of a rift between French and Dutch speakers in the Belgian city of Leuven, Louvain-la-Neuve, one of Europe’s youngest cities, dates back to 1971 and has a history of creating new traditions.
The Forsythe Programme. Review by Julia Pascal. William Forsythe’s latest work Rearray is the most original of the evening’s presentations. Originally created in 2011, it needs a charismatic ballerina.
Stiletto. Review by Barbara Lewis. On average 5,000 boys were castrated every year in 18th-century Italy in a desperate attempt by poor families to change their fortunes. They nearly always managed only to add tragedy to their misery.
Tempest Project. Review by Barbara Lewis. On March 21, Peter Brook would have been a hundred. To celebrate the birthday his beloved Bouffes du Nord Theatre in Paris is staging his and Shakespeare’s final project.
Punch, Young Vic. Review by Will Staveley. Based on the memoir Right From Wrong by Jacob Dunne, the play tells the book’s story; of how its writer inadvertently kills a trainee paramedic, James Hodgkinson, with a single punch on a night out in Nottingham. It is as uncompromising a work as it sounds, and one which left good amounts of the audience in tears, shock, or a combination of the two.
Cry-Baby, The Musical. Review by Barbara Lewis. “Cry-Baby” may be set in 1950s Baltimore, but lyrics that at once celebrate and satirise the democratic checks and balances of the “nifty country” that is the United States of America make it tailor-made as a tonic for our times.
The Marriage of Figaro. Review by Julia Pascal. In The Marriage of Figaro, director Joe Hill-Gibbins sets the comic opera in a contemporary décor which pulls the 18th century critique of misogyny into our own time.
Cul-de-Sac. Review by Barbara Lewis. “Do you think this is enjoyable for anyone to be around?” It’s a very dangerous question in the mouth of Ruth Townsend, who is the aptly named wife of the overly frank Frank Townsend, the central couple of this tale of frustrated lives at the end of the line in London’s Zone 6.
By Barbara Lewis • plays, theatre, year 2025 • Tags: Barbara Lewis, plays, theatre