Charlie Wilks - Page 4

Never before has there been a show filled with such exuberance, or has there been a play that fires the audience up in such a way. Before the action even starts, people are up dancing and laughing along with the 12-strong ensemble. There's so much joy happening in the centre, and the buzzing enthusiasm beams across the auditorium, being felt by everyone.

Celine Dion is one of the most celebrated recording artists of all time. After finishing her triumphant run at Caesar's Palace, Las Vegas, she arrives in London to headline the Friday slot at British Summertime in Hyde Park. 70,000 adoring fans wait patiently to see their idol; there is a massive buzz in the air.

Adam Gillen is utterly compelling in Al Smith's tender tale of astronomy, discovery and space travel. Holding our attention for 85 minutes, he speaks with delicacy and is a delight to watch. Josh Roche directs with expert precision and the pieces simplicity is its greatest strength. This really is storytelling at its finest.

David Blaine is arguably the best magician currently living on this planet. But he isn't just a master of stagecraft; he is also an illusionist and stuntman. Rounding off his first-ever UK and Ireland tour, he performs to a packed out Eventim Apollo.

We're all familiar with at least one fairy tale. We've been told them since we were young. Sure, it may not be the original version of the story, but it'll be one that intrigued, excited and amazed. Fairy tales are a product of society's current tastes, and are adapted to suit each audience member. But what is it that makes them stand out so much.

On first glance, these two may seem like an odd pairing. The pair became friends back in 2017, after having so much fun working together on Shaggy's Don't Make Me Wait. After this they decided to make an album together, naming it '44/876'; the title coming from the duos phone area codes.

Iseult Golden and David Horan's story speaks of family struggle, adolescent development and the complexities of the education system. Looking also at class division and culture, it asks questions about the duty of care of a child when two parents are separated.

This is Edward Hall's last production as Artistic Director. After almost 10 years he is stepping down to make way for pastures new. Before he joined the Hampstead was under threat of closure, as it scraped close to bankruptcy. Nowadays, it has established itself as one of the leading new writing venues, premiering over hundred plays - some of them proving to be a massive hit.

Ell and Mary are best friends, and also ex-girlfriends. When Mary came over to Ell in the pub two years ago, asking her to make a show, the pair didn't know each other. Now, they seem to understand every part of one another; their chemistry on stage is delicious and the spark between them is undeniable.

Demi is the bastard son of a Nigerian woman and the Greek god Zeus. Half mortal, he has strong elemental power, but also possesses an insane talent in playing basketball. Spanning through Greek and Yoruba mythology, Inua Ellam's magical poem takes you back to the roots of performance.

Expect lots of frights and surprises in this production, as the hit from 10 years ago makes its way back to where it all started. After many transfers, tours and a well-received film, Jeremy Dyson and Andy Nyman's horror tale seems scarier than ever.

Alistair's mum and dad have split up; his life is about to change. The pair's separation seems initially very mature and amicable, but it soon turns toxic and things begin to get out of control. Everything's a bit mad in Kellie Smith's new play, which takes a domestic struggle and amplifies it, creating a clunky and monotonous drama.

Over recent years The Yard has developed a reputation for staging bold and pretty out there productions, usually boding well with audiences and generating a definite buzz about the space.

Based on August Strindberg's A Dream Play (1901), SAGA is an effective blend of text and physical comedy, investigating what happens when an outsider visits a place that has problems. Presented by Stones Theatre Company, the ensemble consists of four talented bi-lingual actresses, (Frida Storm, Julia Florimo, Olivia Skoog and Marie Rabe), who share so much delicious chemistry on stage.

Penelope Skinner's monologue arrives at Soho Theatre, after a successful stint in Edinburgh. It's a piece that packs the subtlest of punches, as it gently reveals what's currently going on in the ever-growing community of unhappy men.

Four women, along with the assistance of their stage manager Chrystal, attempt to create a proposal for a new female-led prison drama - one that this time actually details the truth of the judicial system. How will they ensure that they've got their facts right? Well, they've all been inside themselves and will be using their own personal experiences to tell the story.

The Bush has had non-stop success after success with their recent programming, however this show misses the mark by a lot. Roy Alexander Weise, whose career has also gone from strength to strength, directs Eve Leigh's confusing and dull text. Billed as a magic show, it is anything but spectacular.

Seven performers individually enter the space and stare. They stare at us for a long while. One of them speaks; then another and so on. They continue this pattern, mixing it up with movement sequences, songs and direct address. It's all systems go in Outbox Theatre's vibrant production, which takes gender and deconstructs it, allowing an investigation into its themes and contexts to take place.

A piece that could easily feel out dated is anything but as Ned Bennett's production of Peter Shaffer's Equus blasts onto the Stratford stage, before going off on tour with English Touring Theatre. A twisted story of a boy's love for horses, the play asks questions of power, control and the human soul.

Following on from a traumatic incident that occurred months ago, two individuals become the best of friends, despite the unlikeliest of circumstances. Rocked by tragedy, soft animals is an in depth investigation into the many stages of grief, questioning culpability and the wider implications of our actions.