Category: Theatre

  • THEATRE REVIEW | Jane Eyre, Birmingham Rep

    ★★★★ -Jane Eyre, Birmingham Rep

    A rollercoaster of emotions that kept on plunging.

    Charlotte Bronte’s Jane Eyre is plagued by circumstances from which she has no power over; from childhood abuse, to later mistreatment in the Lowood School for orphaned girls, Jane suffered for the greatest part of her life. The National Theatre and Bristol Old Vic came together to create a haunting masterpiece that was seen last night at The Birmingham Rep. The rawness of emotion and the simplistic style of setting captured the audience’s attention and tugged on heartstrings.

    The acting and the synchronicity of movement were astonishing in Jane Eyre. The ensemble pieces were performed to such a high standard, even the breathing was in sync. Nadia Clifford, who plays Jane Eyre, was formidable in her captivating portrayal of Jane’s life. Nadia embodied Jane Eyre with so much sincerity and passion, it was as though Nadia had been through similar tribulations. Her movement and voice, as well conveyance of emotions throughout the play, were so strong and authentic. Nadia stole the show.

    Every cast member showcased uniqueness and dexterity with multipart playing, while acting, moving and singing. I particularly enjoyed Paul Mundell’s representation of Pilot, Mr Rochester dog. Paul used a device which he smacked against the side of his leg to simulate tail wagging which was a fresh take to a human portraying a dog without costumes or gimmicks. Paul’s canine mannerisms and movements really contributed to the sophisticated and brilliance of this production. Evelyn Miller was a fierce multipart player, portraying different characters so uniquely that, if it was not for the small-ish cast number, I don’t think I’d recognise her. She was soulful and powerful in delivery and the characters were really earnest. The queen of playing a plethora of characters was Hannah Bristow. Hannah played five characters and she was brilliant with everyone. Her portrayal of Helen Burns was very touching and emotional. Lynda Rooke was really great at playing the revolting Mrs Reed and then playing a sweet and homely Mrs Fairfax – great contrast of characters. The music trio were not only pleasing to the eye, but they were supremely talented both vocally and with playing different instruments – and acting too! I also really enjoyed Melanie Marshall’s angelic and demonic vocals as Bertha, creating an eerie and surreal atmosphere.

    Jane Eyre is a powerful novel, and seeing it live on stage is an experience that is unforgettable. Thank you, National Theatre!

  • THEATRE REVIEW | The Curious Incident Of The Dog In The Night-Time, Milton Keynes Theatre

    ★★★| The Curious Incident Of The Dog In The Night-Time, UK Tour

     REVIEW | The Curious Incident Of The Dog In The Night-Time, Milton Keynes Theatre width=

    Christopher Boone, a 15-year-old boy, discovers that his neighbour’s dog, Wellington, has been killed by someone (the poor dog having been stabbed with a garden fork), and sets off to find out who the culprit is. But Christopher has Asperger’s syndrome, which makes his perception and functioning very different to other boys his age and as the truth behind Wellington’s death starts to be revealed, it leads Christopher to embark on a remarkable adventure.

    The show is based on the hugely successful book by Mark Haddon and has been a West End and Broadway hit. Utilising a virtually empty stage, the presentation of the show was intriguing, using screens on the back and sides of the stage, almost framing the show in a cube, reflective of Christopher’s constraints in his functioning. Lights flicker like the firing of neurons in his brain, and black and white projections are used to show both his thought process and to set the scene. The show, like the book, is written from Christopher’s point of view and the presentation effectively places the audience members squarely into the centre of his mind and thoughts. The simplicity of the set is reflective of the way in which Christopher perceives the world and worked very well. There were pieces of carefully choreographed movement throughout, and the scene where Christopher arrives in London and is overwhelmed by the overstimulation of his environment is very well done. In this show, less certainly is more, and the monochrome set nicely mirrored Christopher’s rather binary thinking.

    But placing the style and presentation to one side, the most impressive aspect of the show was the central performance of Scott Reid. Reid’s portrayal of Christopher Boone was highly accomplished – mixing the complexities of the characters personality, his physical traits and a childlike innocence which combined to provide a rounded and believable performance

    The show, and in particular, the first act, is very well written, with a script which imports large chunks of text from the book to provide a faithful adaptation of the source material. Despite being bleak at times, the show was filled with gentle humour; and created a world with a myriad of characters that come in and out of Christopher’s life which nestle alongside the well-crafted moments of dramatic tension and emotionally powerful scenes.

    The show has won a slew of awards, including 7 Olivier Awards and 5 Tony Awards, and it is easy to see why. There is a lot of depth to the play, exploring the adult world of interpersonal relationships through a simplistic and innocent perspective.

    The Curious Incident of the Dog in the Night-time is playing at the Milton Keynes Theatre until 16th September 2017

    • Review taken from Sheffield Theatre production.
  • THEATRE REVIEW | Late Company, Trafalgar Studios, London

    ★★★★★| Late Company

    THEATRE REVIEW | Late Company, Trafalgar Studios, London

    The title of a new play at Trafalgar Studios – Late Company – means that the family the Hastings invited over for dinner are late, and they are also late in apologising for the suicide of their teenage son.

    Debora (an amazing Lucy Robinson) and Michael Hasting (Todd Boyce) have invited Bill Dermot (Alex Lowe) and his wife Tamara (Lisa Stevenson) and their son Curtis (David Leopold) over for dinner to their fancy and art-inspired home. Curtis and Debora & Michael’s son Joel were friends in school, however, Michael committed suicide after being constantly bullied and taunted by the other kids in school (including Curtis) for being gay and a bit feminine. So Debora (and less so Michael) have invited the Dermots over for dinner on the one year anniversary of Michael’s death. It’s a dinner where Debora wants to have the ‘conversation’ – to get everything out in the open and to have an open and honest discussion with Curtis to determine the reasons and motive for doing what he did to Michael, and most importantly to find out why. But the dinner doesn’t go according to plan, it’s brought up bad emotions and feelings that Debora and Michael were trying to get over. But it turns out that Debora was never really there for Joel, and that Michael’s job as an MP took him to Ottawa a lot of the time, and Debora was always focusing on her art and not really on Joel, so Bill and Tamara subtly advise Debora and Michael that they missed the warning signs because they were too involved in themselves. But no matter who the finger is pointed to, Joel is gone forever, and no yelling or conversation will bring him back. And it’s mostly Debora who longs for closure, and perhaps she’s feeling a bit guilty over Joel’s suicide.

    Late Company throws heavy emotional dialogue at the audience right and left, and it’s delivered by an excellent cast. Robinson as Joel’s mom has the showiest part. She’s angry and upset and wants closure. Stevenson is also very good as the mother whose son is still alive, she just can’t put herself in Debora’s shoes but she is willing to do as much as she can to help ease the pain. And Leopold is a wonder as the son who doesn’t have much to say during the dinner but near the end, he comes into his own. Gay playwright Jordan Tannahill was only 23 when he wrote Late Company in the wake of a peer’s suicide, and he has written a timely and evocative play that’s very relevant today in a world of constant bullying and peer pressure and what seems like the lack of rules on social media. Late Company is a short 75 minutes but it packs a wallop during this time and at the end, you will find that your heart has dropped into your stomach. A must see!

    Late Company is playing at Trafalgar Studios until Saturday, September 16th.

  • THEATRE REVIEW | Loot, Park Theatre, London

    ★★★★ | Loot

    THEATRE REVIEW | Loot, Park Theatre, London

    The late playwright Joe Orton wrote Loot more than 50 years ago, and it is now being revived at London’s Park Theatre in Finsbury Park.

    Loot is a farcical comedy that’s hilarious but it’s upstaged a bit by the life of Orton. He was only 34 when, at the peak of his fame, he was murdered by his boyfriend Kenneth Halliwell in their flat in Islington exactly 50 years ago because Halliwell was very jealous of Orton’s success. Orton had just had real success in the West End with both Loot and Entertaining Mr Sloane, and was even celebrating being notorious for when he and Halliwell served six months in jail for defacing books from the Islington public library.

    But back to Loot,  it’s a laugh a minute play about a funeral with a corpse which unfortunately does not get any peace in the afterlife. There’s also a bank robbery as well as a cunning nurse who will do anything to get her hands on as much money as she can.

    Mrs McLeavy (Anah Ruddin) has just died and her husband McLeavy (Ian Redford) and son Hal (Sam Frenchum) are in mourning at a funeral home. Nurse Fay (Sinéam Matthews) was hired to take care of Mrs McLeavy, but she’s got more up her sleeve than cotton pads and plasters. But Hal has just robbed a bank, in cahoots (and then some) with undertaker Dennis (Calvin Demba), and the money is in the same room as Mrs McLeavy. But self-proclaimed water inspector Truscott (Christopher Fulford) seems to be getting very interested in everyone’s business, starts to ask lots and lots of questions, while Hal and Dennis run amok trying to figure out where to stash the stolen money – and this is the beauty of Loot. Poor Mrs McLeavy’s corpse keeps on getting switched with the money and eventually her body is a prop where McLeavy and Truscott bewilderingly take no notice. And eventually Fay wants a piece of the action or else she will tell the cops. The corpse winds up in literally many hilarious places and positions which will keep you laughing for the duration of the show’s 90 plus minutes.

    Kudos go to Ruddin for playing the corpse. She, along with the hilarious script, are the real stars of the show. Matthews as nurse Fay and Redford as McLeavy are also brilliant but it’s a testament to Orton who had bucketfuls of talent taken away from him at such a young age, one can only imagine what else he would’ve accomplished. And we’re lucky we are no longer at the behest of Lord Chamberlain who heavily censored this show when it was originally shown, and when some of the audiences walked out because of the way the corpse is treated in the show. And we finally get to see Loot the way Orton originally intended it to be watched, in full.

    Loot play at the Park Theatre in Finsbury Park until 24th September

  • THEATRE REVIEW | Between The Sheets, Underbelly, London

    ★★★★ | Between The Sheets

    Between The Sheets, Underbelly, London

    London’s most famous burlesque entertainer – Miss Polly Rae – is hosting a new show at London’s Underbelly Festival on the Southbank. It’s Between the Sheets, and between you and me it’s fabulous!

    Polly Rae, along with a cavalcade of other naughty acts, perform a variety of skits while scantily clad in a show that’s fun, and dare we say it, titillating. There’s so much on offer in the show for both men and women as Rae’s performers delight the late night audiences with the ability to do a variety of stunts while simultaneously taking their clothes off.

    Come and watch the amazing duo of Duo Visage (Beau Sargent and Sam Smith) combine their spectacular artistry, along with their perfectly lithe bodies, as they do spectacular stunts on the stage in a venue where every seat in the house is good. Then there is Tom Cunningham and Myles Brown, two very good-looking men who take off all of their clothes in one very cute skit while in another scene they most memorably perform a romantic and sensual dance with each other that’s both erotic and emotional and very memorable. We are then treated to the very funny Lilly Snatchdragon who provides comic relief in between the flesh-baring performers. But it’s Kitty Kitty Bang Bang who impresses us the most with her fire eating skills along with her splashing around in a very large cocktail glass semi-filled with water. Did I also mention that she’s scantily clad while doing this? And the gorgeous Beau Rocks rounds out the cast of Between the Sheets, and rounds out just simply describes her and her amazing body and personality.

    Playing for a limited time only, Between the Sheets will literally thrill you out of your seat with a spectacular show which takes place in one of London’s best venues. Kudos to Miss Polly Rae for bringing this sort of burlesque show back to London in a visually stunning and hilarious romp. It’s a night out that you will truly not forget.

    There are three more shows left of Between the Sheets – all on Fridays: August 25th, September 8th, and September 29th.

     

  • Book tickets to see Mamma Mia, The Musical at The Brighton Centre

    Tickets for Mamma Mia, The Musical at The Brighton Centre are available to buy today.

    Book tickets to see Mamma Mia, The Musical at The Brighton Centre

    What is Mamma Mia About?

    Sophie is determined to have her father walk her down the aisle at her forthcoming wedding. After finding out that there are three potential guys who may be her father, she invites them all to the forthcoming nuptials; but will she find out which one really is her father, and how will her mother react when three of her former lovers all turn up unexpectedly?


    BOOK TICKETS


    RUN DATES

    16th August – 3rd September 2017


    Our review

    ★★★

    The real star of the show is the music, and with a soundtrack which plays out like your ABBA Gold CD, there are more than a few songs here that you will know every word to. There are some storming numbers, which work really well; “Money. Money, Money”, “Mamma Mia” and “Does Your Mother Know” are good ensemble pieces, and the collision of the stag and hen do’s to “Voulez Vous” was an enjoyable highlight; with this show reminding you of just how good ABBA really were. (Paul Szabo)


    Watch a clip from Mamma Mia UK Tour

     

    We use Ticketmaster as our official ticketing agent.

  • THEATRE REVIEW | Mamma Mia, Brighton Centre

    ★★★| Mamma Mia 2017 National UK Tour

    THEATRE REVIEW | Mamma Mia, Brighton Centre

    Sophie is determined to have her father walk her down the aisle at her forthcoming wedding. After finding out that there are three potential guys who may be her father, she invites them all to the forthcoming nuptials; but will she find out which one really is her father, and how will her mother react when three of her former lovers all turn up unexpectedly?

    Currently, on its first ever UK tour, Mamma Mia is a show which needs little introduction. Based around the hit songs of Abba, the show has been a phenomenon for many years and continues to pack out theatres with its sunny setting, perfect pop and feel-good factor.

    The show feels as warm as the weather in the Greek setting to the story, with a set made up of a backdrop of brilliant blues and two moveable parts to the set which transforms the locations of the story very well. The lighting design is well conceived, the costumes include some spandex and stomping platform boots, and the whole thing is fairly seamless in its presentation.

    Sadly, for such a slick and polished production, the lead cast was disappointing; with both the acting and singing not being of a standard one would expect from such a huge show. Someone in the foyer joked “at least we won’t have to listen to Pierce Bronson sing tonight” (referring to his much-maligned performance in the film version of the show); but at times, his dulcet tones may have been a blessing. It is the ensemble cast who really shone in terms of their enthusiasm, singing and dancing; with more gorgeous gals and hunks in trunks than you can shake a stick at; and an abundance of muscular and ridiculously attractive young men in the ensemble with vast amounts of six packs, biceps and perfect pecs on display.

    But the real star of the show is the music, and with a soundtrack which plays out like your ABBA Gold CD, there are more than a few songs here that you will know every word to. There are some storming numbers, which work really well; “Money. Money, Money”, “Mamma Mia” and “Does Your Mother Know” are good ensemble pieces, and the collision of the stag and hen do’s to “Voulez Vous” was an enjoyable highlight; with this show reminding you of just how good ABBA really were.

    But where the show really succeeds is in the fact that it remains an absolute crowd-pleaser and presents itself with a real sense of fun. It’s a show which cranks up the camp, ditches the story and plot and goes all out to enjoy itself. It’s not perfect by any stretch, but by the time the crowd are on their feet singing and dancing at the end, you know that you have had a good couple of hours of escapism and managed to kick-start your summer.

    Mamma Mia plays at the Brighton Centre until 3rd September 2017

    • Review is taken from the Sheffield Theatres production.
  • THEATRE REVIEW | The Curious Incident Of The Dog In The Night-Time, King’s Theatre Glasgow

    ★★★ | The Curious Incident Of The Dog In The Night-Time, King’s Theatre Glasgow

     REVIEW | The Curious Incident Of The Dog In The Night-Time, Kings Theatre Glasgow

    Christopher Boone, a 15-year-old boy, discovers that his neighbour’s dog, Wellington, has been killed by someone (the poor dog having been stabbed with a garden fork), and sets off to find out who the culprit is. But Christopher has Asperger’s syndrome, which makes his perception and functioning very different to other boys his age and as the truth behind Wellington’s death starts to be revealed, it leads Christopher to embark on a remarkable adventure.

    The show is based on the hugely successful book by Mark Haddon and has been a West End and Broadway hit. Utilising a virtually empty stage, the presentation of the show was intriguing, using screens on the back and sides of the stage, almost framing the show in a cube, reflective of Christopher’s constraints in his functioning. Lights flicker like the firing of neurons in his brain, and black and white projections are used to show both his thought process and to set the scene. The show, like the book, is written from Christopher’s point of view and the presentation effectively places the audience members squarely into the centre of his mind and thoughts. The simplicity of the set is reflective of the way in which Christopher perceives the world and worked very well. There were pieces of carefully choreographed movement throughout, and the scene where Christopher arrives in London and is overwhelmed by the overstimulation of his environment is very well done. In this show, less certainly is more, and the monochrome set nicely mirrored Christopher’s rather binary thinking.

    But placing the style and presentation to one side, the most impressive aspect of the show was the central performance of Scott Reid. Reid’s portrayal of Christopher Boone was highly accomplished – mixing the complexities of the characters personality, his physical traits and a childlike innocence which combined to provide a rounded and believable performance

    The show, and in particular, the first act, is very well written, with a script which imports large chunks of text from the book to provide a faithful adaptation of the source material. Despite being bleak at times, the show was filled with gentle humour; and created a world with a myriad of characters that come in and out of Christopher’s life which nestle alongside the well-crafted moments of dramatic tension and emotionally powerful scenes.

    The show has won a slew of awards, including 7 Olivier Awards and 5 Tony Awards, and it is easy to see why. There is a lot of depth to the play, exploring the adult world of interpersonal relationships through a simplistic and innocent perspective.

    The Curious Incident of the Dog in the Night-time is playing at the King’s Theatre Glasgow until the 19th August 2017

    • Review taken from Sheffield production.
  • THEATRE REVIEW | Evita, Phoenix Theatre, London

    ★★★★ | Evita


    The classic musical ‘Evita’ has returned to the West End to mark the 65th anniversary of the death of Eva Perón, the woman who was revered in Argentina not only as the wife of that country’s President Juan Perón but also as a woman who was perhaps more powerful than her husband.

    ‘Evita’ takes us through the highs and many lows of Eva Perón. Played by Emma Hatton (‘Wicked’), ‘Evita’ begins somberly at her funeral, attendees dressed in black – and this sets the tone for the first 30 minutes of this show – dark, deep and depressing. With lyrics by Tim Rice and Music by Andrew Lloyd Webber, ‘Evita’ finally finds it feet with the rise of Eva, which was her real name. She becomes as actress in Buenos Aires, but she had bigger ambitions, ambitions that would lead her to meet Juan Perón at a party she’s helped to organize to raise money for San Juan, Argentina, which was devastated by an earthquake. Juan, played by Kevin Stephen Jones, falls head over heals with Eva – he’s met his match – she’s just as strong and confident as he is. But it’s the public that takes to her – they love her and see her as a queen and perhaps more – perhaps as a leader for their country. But as history tells us, Eva Perón never got to see her 34th birthday, she died at the age of 33 in 1952, and ‘Evita’ the musical takes us through this journey, with the help of narrator Che (excellently played and sung by Gian Marc Schiaretti).

    ‘Evita’ is pure musical joy. There’s not one word in the show that is spoken – the plot is all told in song, and what great songs they are, 39 years after they were first written. This includes the lovely melodies of ‘I’d be Surprisingly good for you’ – when Evita initially meets Juan; to the rousing ‘A New Argentina;’ and the show-stopping ’On the Balcony of Casa Rosado’ where we see, in a breathtaking scene, Evita speaking (singing) to the crowd from the balcony of the palace; also the classic ‘Don’t Cry for Me Argentina’ where Eva sings in the hospital after her fatal diagnosis; and the fantastic and very memorable ‘And the Money Keeps Rolling In’ where Schiaretti really shines, and proves, that he is the true star of this show. As Che, he literally steals the spotlight from Hatton. Schiaretti is a regular concert performer and has performed throughout Europe and has played Tarzan on stage – ‘Evita’ will definitely raise his profile. The rest of the production is just fine, with an excellent supporting cast (especially Sarah O’Connor as the mistress of the President who Eva replaces, and holds her own in the solo number ‘Another Suitcase in Another Hall.’) ‘Evita’ is only on for three months, so if you’ve never seen it before (this is third version I’ve seen, though I’m a bit too young to have seen the original version which made Elaine Paige a star in London and Patti Lupone a star in New York), I urge you to see it. While Hatton is very good, Schiaretti is amazing. And in this touring revival, directed by Bob Tomson and Bill Kenwright, is staged perfectly in the cozy Phoenix Theatre.

    For tickets, please go to:

    http://www.atgtickets.com/venues/phoenix-theatre/

    Photo provided by Emma Holland PR

  • THEATRE REVIEW | The Play That Goes Wrong, Cambridge Arts Theatre

    ★★★★★ – Dangerous, jaw-dropping and comedy genius!

    Mischief Theatre, in role as The Cornley Polytechnic Drama Society, brought to the Cambridge Arts Theatre stage an uproariously funny murder mystery entitled The Murder at Haversham Manor and it went south, literally.

    The Play That Goes Wrong was a comedic masterpiece, like its successor Peter Pan, Goes Wrong, with dangerous and risky tricks that left audiences clutching on to their seats as pieces of stage fell off and got thrown around, sometimes missing the actors by inches. The actors were so efficient in everything they did, from balancing three objects across two body parts, to expertly delivering their lines while dodging canvasses, candelabras and each other. What was sublime about The Play That Goes Wrong was that if ever you have seen an amateur, or a badly produced professional, play, this show embodies the different mistakes and disasters that have occurred in the former shows. There’ll be a moment where you cannot help but recall a bad production where sets had fallen down or actors had genuinely forgotten lines and asked for “line” throughout entire speeches.

    Jason Callender who plays Jonathan playing Charles Haversham was brilliant. His gag was always turning up at the wrong point in the play, revealing the ending every time. It was very comedic, too, when Jonathan was rarely allowed to play dead, for actors clumsily walked on him, sat on him, or fell on him. He made the audience laugh at his every entrance, and I chiefly loved his sneaking off stage wriggling subtly on the floor as if to kid the audience that we couldn’t see him depart. Patrick Warner who plays Chris playing Inspector Carter was a comedy genius. Every reaction was crafted to perfection, and his lines were well-timed with the action. The audience hung on to every word he said. He played the director too, so it was particularly hilarious when, under his breath, he would mutter a direction to understudies that had come on to fill in for a part. Ham acting is a feature often prominent in amateur murder mystery productions, and Alastair Kirton playing Max playing Cecil Haversham did a sterling job showcasing this. Max’s sawing the air with his hands and over dramatising his role while stopping to smile as the audience laughed during one of his lines, was incredibly entertaining. When Max changed role to be the Gardener he flashed his clothes to tell it was still him, and that he had returned, but as a different character. Absolutely hilarious. Lastly, Natasha Culley as Sandra Wilkinson enacting the role of Florence Colleymoore was a treat. Sandra was everything that had ever gone wrong with acting all sewn together in one actress. Her ticks, shallow demeanour, and not able to improvise without direction, was a great feast for the senses. Her overproduction of movement as she spoke, too, was hilarious. Overall, each cast member contributed to one of funniest nights I’ve had this year.

    The Play That Goes Wrong was especially entertaining for the set was a safety hazard, as the study, built atop of the drawing room, with no rails or support, collapsed gradually while the actors were still on there. It eventually fell down while an actor was under it, but the dexterity by which the actors moved and positioned themselves, made the accidents sort of safe, and we could exhale once again.

    Mischief Theatre is like Alton Towers, you queue to get on, you get several scares, and then you want to hop on again and again.

    The Play That Goes Wrong is playing at the Cambridge Arts Theatre, until 12th August 2017

    Originally reviewed at the Birmingham Rep

  • Win Tickets To See A Woman Of No Importance

    Win Tickets To See A Woman Of No Importance

    Win tickets to see Oscar Wilde’s A Woman of No Importance

    Classic Spring is a new theatre company, formed by Dominic Dromgoole (former Artistic Director of Shakespeare’s Globe Theatre) to celebrate the bold and ground breaking work of proscenium playwrights in the architecture for which they wrote.

    Its first offering is an Oscar Wilde Season at the Vaudeville Theatre, revolving around his four great Victorian plays, which shocked and redefined British theatre, and still resonate and refresh today. A Woman of No Importance (6 October to 30 December) and Lady Windermere’s Fan (12 January to 7 April) are now on sale and coming soon are An Ideal Husband and The Importance of Being Earnest.

    A Woman of No Importance is directed by Dominic Dromgoole and stars Olivier award winning Eve Best (A Moon for the Misbegotten and Hedda Gabler), Anne Reid (Last Tango in Halifax) Eleanor Bron and William Gaunt.

    An earnest young American woman, a louche English lord, and an innocent young chap join a house party of fin de siècle fools and grotesques. Nearby a woman lives, cradling a long buried secret. Wilde’s marriage of glittering wit and Ibsenite drama create a vivid new theatrical voice.
    ‘One can survive everything nowadays, except death, and live down anything except a good reputation’

    For more information and to book your tickets (from £19.50), call 0330 333 4814 or visit ClassicSpring.co.uk Come and share in this new adventure, and rediscover the thrill of these great plays.

    One reader can win a pair of tickets to see A Woman of No Importance at the Vaudeville Theatre. To enter simply answer the following question and click Submit.

    Terms and conditions: One reader will win two Band A tickets to see A Woman of No Importance at the Vaudeville Theatre, London, valid for Monday to Thursday performances from 6 October to 2 November 2017, subject to availability. No cash alternative. Travel not included.