Arts
SPOTLIGHT ON: Queer plays, an opera and a ballet
In the first of two articles, Brian Butler surveys a feast of queer theatre coming soon
Arts
REVIEW: Waitress @ Theatre Royal Brighton
This is a fizzing fun and quirky show, I was delighted by it. It’s lovely to enjoy such a clever combination of writing, lyrics and music which pull the classic arc of musicals into a modern messy genre mixing focus. But in a charming surgery way which belies the sophisticated work going on beneath
Arts
PREVIEW: From iconic handshake to Queer bathtime singing – it’s all yours
Brian Butler previews another range of shows for your delight, from iconic handshake to Queer bathtime singing – it’s all yours
Arts
REVIEW: Andrew Lloyd Webber’s ‘Cinderella’
Brian Butler is enchanted by Lloyd Webber’s latest musical, slated to close this week
Arts
SPOTLIGHT ON: Divina de Campo
Brian Butler talks to a non-binary performer who knows exactly where they’re going
Arts
FRINGE REVIEW: Clean! The Musical
Brian Butler revels in the stories of seven powerful Brighton women
Arts
SPOTLIGHT ON: Mark Smith
In 2010 he founded the Deaf Men Dancing company. “I was always being asked if I was the only deaf dancer. I knew there were others, but we didn’t talk about it. I thought: what happens if I put them all together?
Arts
REVIEW: Private Lives @ Theatre Royal
A period delight, executed with humour and panache and certainly one for Cowards fans or anyone interested in a certain type of arch, camp dialogue driven relationship comedies with a delicious vicious core.
Arts
REVIEW: Hedwig And The Angry Inch @ Leeds Playhouse
Brian Butler finds Divina De Campo’s stage debut electrifying
Arts
REVIEW: Anyone Can Whistle @ Southwark Playhouse
Brian Butler finds an underperformed Sondheim gem
Arts
PREVIEW: Chichester, Crazy Coqs and the Canary Islands
Brian Butler looks ahead to Chichester’s 60th, Broadway legends in London and Canary capers
Arts
REVIEW: Beautiful @ Theatre Royal
Molly-Grace Cutler as Carole King is touching, she’s totally there, filled with charming vulnerable and buoyant hope, it’s a beguiling performance, hinting at the steeliness at Carols core and her tenacity to be heard on her own terms, and the second half focuses more on her music than the AWOL plo