Articles

  • 2 weeks ago | theguardian.com | Chris Wiegand

    A report by the Society of London Theatre and UK Theatre, released on Thursday, puts the spotlight on an industry struggling with rocketing production costs and in need of urgent funding.

  • 2 weeks ago | msn.com | Chris Wiegand

    Microsoft Cares About Your PrivacyMicrosoft and our third-party vendors use cookies to store and access information such as unique IDs to deliver, maintain and improve our services and ads. If you agree, MSN and Microsoft Bing will personalise the content and ads that you see. You can select ‘I Accept’ to consent to these uses or click on ‘Manage preferences’ to review your options and exercise your right to object to Legitimate Interest where used.

  • 2 weeks ago | theguardian.com | Chris Wiegand

    Aw, shucks. There’s plenty to love about this US import, a country musical with a zany corn obsession and a message about breaking down barriers that suits this open air theatre. But just how much corn-fed wordplay can you stomach? You’ll soon find out. There’s a maze of maize jokes, some kernels of truth amid the cornball sentiment, a husk of a plot about a corn doctor mistakenly assumed to treat ears not feet and a few painful gags about cornholes.

  • 2 weeks ago | theguardian.com | Chris Wiegand

    The actor and writer Gawn Grainger, highly esteemed by stage and screen audiences alike over his long career, has died at the age of 87. His death on Saturday, surrounded by his family, was confirmed by his agent Judy Daish. He is survived by his wife, the actor Zoë Wanamaker, and by his children, Charlie and Eliza, from his previous marriage to the actor Janet Key.

  • 2 weeks ago | theguardian.com | Chris Wiegand

    Jack Lowden wasn’t away from the stage for as long as his Slow Horses co-star Gary Oldman but it’s still a thrill to find him returning to theatre. Seen at the Edinburgh international festival last summer, The Fifth Step – his first play since 2018 – gives him a character both volatile and vulnerable in a two-hander bristling with playwright David Ireland’s signature style of knotty provocation and ribald comedy.

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