#theatre

#theatre

I will arise and go now, for peace comes dropping slow, reads the male lead to his bed-bound partner and their dying, severely disabled newborn boy. These lines sing out in Guess How Much I Love You?, Luke Norris's new play about a couple navigating the premature loss of their child. Yeats's words capture the play's driving emotional forces: the possibility of finding peace after such profound trauma, the lifelong burn of unexpected bereavement and the temptation to end it all.

Set in a school in a small town in rural Georgia, John Proctor... centres on five female classmates who are not only studying The Crucible, but get caught up in Crucible-like events as debate whether or the play's nominal hero John Proctor is indeed the villain, as opposed to Abigail Williams, the young woman he has an affair with and then discards.

Pinocchio will be staged at Shakespeare's Globe this festive season in a new musical production aimed at family audiences. The show is presented in the Globe's famous open-air theatre, with savings of up to 60% on selected performances. This new musical adaptation retells the familiar story of Pinocchio at one of London's most recognisable theatres. The plot follows Geppetto, a solitary woodcarver, who creates a wooden puppet in search of companionship and purpose.

It has a starry cast led by Nicola Coughlan (Bridgerton), who is reuniting on stage with her Derry Girls colleague Siobhan McSweeney. With fellow Irish actor Eanna Hardwicke (The Sixth Commandment) as the male lead and direction from Caitriona McLaughlin, the Artistic Director of the Abbey Theatre, Dublin, the National has plundered the emerald isle of some of its finest thespian talent for this production.

KENREX is a one man show, co-written by its star performer, Jack Holden, alongside the show's director, Ed Stambollouian. Holden, fresh from writing The Line of Beauty, which recently enjoyed a sell-out run at The Almeida, now bounces back onto stage himself, in a role portraying the entire town of Skidmore and resident bully, Ken Rex McElroy. Skidmore is a Missouri town too small and far away from anywhere to have a sheriff.

Plaisance Theatre Pantomimes and politics: Both thrive on performance, exaggeration and audience participation. In pantomimes, the audience boos the villain and cheers the hero; in parliament, political leaders are cast in these roles with MPs jeering. It's a comparison Islington North MP Jeremy Corbyn understands. "Panto every day would be a good thing. Mind you, I work in Parliament so I get that already," he said.

Blue baby, of the first generationwhose hole in the heart could be closed in an operating theatrewhere the show must and did go on, you thought yourself lucky as a sicklychild, who got to spend whole days reading long books in bed.An early obsession with Louis Seize and the costume drama of Versaillesmade you the director you were, blocking actors in your head.Or so we believed; you told good stories.

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging. At such a critical moment in US history, we need reporters on the ground.

"I'm doing a play in a couple of months starting in February called Marcel on the Train, which I co-wrote with Marshall Pailet," Slater tells Inverse. "I love theatre and I love doing theatre. It's something that I always hoped to be doing as much as possible, but I really love film and it's been amazing to get to do more of that."

The play is a two-hander starring Clive Owen (Closer) and Saskia Reeves (Catherine Standish in Slow Horses) as Alfie and Julie, a successful Gen X couple both aged 59 and living in Highgate. The ninety minute one-act play has the couple wrestling with the emotional turmoil caused by Alfie's terminal cancer diagnosis as they try to negotiate their way through this ultimate disruption to their comfortable life.

I'm listening to Saves the Day's Stay What You Are on the car CD-player, on the way to play Soul Caliber and hold hands with my boyfriend after school ... It's cold, and you can still hear the dull thud of the music from the goth club in the basement under the sushi bar, and I'm wearing a cheap polyester corset, and I think I'm about to be kissed

Acting is like quicksilver. It's difficult to pin down exactly what makes one actor great and another merely good. As a critic, you can run the gamut of the thesaurus and it's still hard to capture a truly great performance with your pen. What, then, of an actor's whole oeuvre? How do you convey their career in a meaningful way, so mercurial is the talent, so ephemeral is the product they leave behind, especially when major parts of their career are on the stage?

Tom Hanks is a star who's always had one foot squarely in the past. As an actor he's forever been likened to James Stewart, a reincarnation of the charming, essentially good American everyman, a from-another-era lead who's increasingly been more comfortable in period fare (in the last decade, he's appeared in just four present-day films). As a producer, he's gravitated toward historical shows such as Band of Brothers, John Adams and The Pacific;

Rossum's Universal Robots-Foothill Theatre Arts is mounting the West Coast premiere of Rossum's Universal Robots (R.U.R.), running through Nov. 23. The 1921 play, which introduced the word "robot" to the English language, has received an update by adaptor Bo List to address one of today's most pressing questions: What can happen if A.I. goes rogue? $15-$28. Nov 13 & 20, 7:30pm; Nov 14-15 & Nov 21-27, 8pm; Nov 16 & 23, 2pm. Loham Theatre, Foothill College,12345 El Monte Road, Los Altos Hills. foothill.edu/theatre.

While maybe not as famous as his other musicals, Stephen Sondheim has said that Company was his most biographical. The story follows Bobby, a single New Yorker surrounded by married and engaged couples, who contemplates his future on the brink of his 35th birthday. After it debuted in 1970, the show went through several revivals, including 2021's feminist, gender-swapping version in which an actress played the lead role.

Jason Thorpe (The Witcher, The Banishing) is instantly lovable as Winston Smith, who arrives unannounced at his daughter Joy's flat. He is a chaotic, grey-haired dad, full of quick wit and risky jokes (the audience laughs constantly). Joy played by writer Farino herself (Anatomy of a Scandal, Masters of the Air) is perturbed by her father's appearance. She's a soft-spoken, formidable presence, wise to his erratic nature but without the capacity to resist him.

From intriguing shows and concerts to great actors in great movies, this weekend has a lot of promise. So let's get to it, shall we? (As always, be sure to double check event and venue websites for any last-minute changes in health guidelines or other details.) Meanwhile, if you'd like to have this Weekender lineup delivered to your inbox every Thursday morning for free, just sign up at www.mercurynews.com/newsletters or w.eastbaytimes.com/newsletters .

Paddington stands within touching distance. His fur flutters as he turns, his neat button nose sniffs the air, and his eyes soften with a smile. For years, design details of the bear for Paddington the Musical, directed by Luke Sheppard, have been kept top secret. Now here he is, in his blue duffel coat and red hat. A quiet theatrical marvel.

There's a lovely intimacy to Every Brilliant Thing at @sohoplace, a play that's as much about the performer as it is about the story. The West End season has seen a star-studded rotating cast including Lenny Henry, Jonny Donahoe, Ambika Mod and Sue Perkins, each bringing their own flavour to Duncan Macmillan and Jonny Donahoe's one-person tour de force. Minnie Driver closes the run, lighting up the stage with her warmth, humour and natural charm,

Until I was 12 I was in the French school system, where theatre was Moliere, Corneille, Racine. Going to the theatre meant The Sound of Music or My Fair Lady. Then it was decided I would switch to school in England. So, at 13, I arrived at Westminster school. It was 1968, and the world opened up. I went to see a school production of Waiting for Godot in French in a small room with a little stage, and I was sitting at the back.

The three plays aren't linked narratively as I wanted audiences to be able to experience them as individual works. Beginning tells the story of a couple on the edge of 40 who have just met and the 100 minutes it takes them to kiss. Middle is the story of a late fortysomething couple whose marriage hangs in the balance at 4am. In End, Alfie and Julie must decide how to live the end of their relationship.

"I made this record in December 2024 and it was a way for me to process what was happening in my life," Allen said, "There are things that are on the record that I experienced within my marriage, but that's not to say that it's all gospel... It is inspired by what went on in the relationship."