Everything Theatre

Lovely design, plenty of talent and a bundle of laughs, but with room to go somewhat bigger.

A new cast brings fresh energy, sharp comedy, and unique interpretations.

Avant-garde ambition collapses into unwatchable chaos. ‘Avant-gaurd’ the exits!

Malorie Blackman’s iconic, powerful story gives a strong core to a dark, action-packed adaptation.

An endearing celebration of rave culture that focuses on unity as a form of resistance and liberation.

How far can a cocktail of nostalgia and money take you? Evidently all the way to the Theatre Royal Drury Lane, where Disney’s bacchanal of bastardised Greek myth will dazzle, as long as you don’t look too closely.

An orchestral, ballet reimagining of Quadrophenia 50 years on that is superbly elegant, emotive and immersive.

See the stage show of the famous animated film close up and in your own home!

An intense dive into a band's gruelling creative process and fraught relationships. Like any great record, Stereophonic feels like one that will grow and grow with repeated playback.

An electric and claustrophobic dance retelling of James Baldwin’s Givonni’s Room.

The Dominion Theatre recently hosted The Elvis Years, a one-night event celebrating Elvis’ career asa singer and actor, from his first studio sessions in Memphis in 1953 to his death in 1977. It’s animposing and capacious theatre (over 2,000 seats) which rapidly filled with excited Elvis fans lookingforward to the 2 hours plus show ahead. There were some wonderful costumes and hairstylesreminiscent of the early Elvis years, and anticipation of the performance ahead. Directed and produced by David Mackay, this established show is set on a simple stage with dias forband equipment, such as the drum kit and keyboards, and of course, Elvis. A large screen projectionto the rear of the stage begins the narrative of the early 1950s, playfully tuning an old radio set inanticipation of music. Mario Kombou, much lauded for his ability to portray Elvis through his many career highs, walked onto significant applause, ably accompanied by the band: Neil Bullock, Simon Parrish, Stephen Grayand John Joce. The opening number had poor sound quality, with vocals sounding discordant andindistinct despite excellent musicality from the band. At the end of the opening number, Komboudeclared, ‘I was going to say this later, but … I have laryngitis and I…

Ambitious and occasionally moving, but uneven and, ultimately, not as satisfying as it could be.

Summer is here, the sun is shining – what better way to celebrate than to descend into the depths of the Phoenix Arts Club for a magnificent musical evening with the incredibly talented Patsy May?