Paul in London

As part of its Open Stage programme this year, the Theatre Royal Stratford East is holding a series of readings of new plays this week, curated by Rikki Beadle-Blair . I caught The Miriam Gospel by Ben Fensome on Tuesday which is a surreal roller coaster ride into this history of homosexuality. Thanks to the internet, you don't need to read a review but can watch the performance below. If you're pressed for time, I would recommend skipping to the monologue by a leopard slug, which comes in at 1 hour 50 seconds. It describes in graphic slimy detail slug sex and is disgusting and not for the squeamish. And I loved it. This is a series to watch for potential future playwrights and performers. Readings run until Saturday for now but more are to come later this year... It is worth a look and make sure you stay for the post show discussions as they are wonderfully entertaining and insightful about how the actors and writers grappled with the material and got it into shape... T

The Ladykillers , which is playing at the Gielgud Theatre is a surprise treat. Even if you are not familiar with the Ealing comedy with Alec Guinness , the tale of a sweet old lady who is up against a gang of crooks who are using her room to hide out following a heist near Kings Cross is a lot of fun and everything a civilised night out at the West End should be... Murder, heists, little old ladies, car chases and moulting parrots... How some of the material translates to the stage is often a joy to behold. Actually it is all so enjoyable that you wonder if they took the pace a bit quicker, choreographed the action a bit snappier and occasionally broke the fourth wall it might even be funnier. Still, everyone is so likable and the performances are wonderful. Particularly by Marcia Warren as Mrs Wilberforce, who creates a wonderful character that is equal parts daft and clever.  And of course the production looks great. People have raved about the set and it is a sight to behol

All New People, written and starring Zach Braff is a play that takes place over 90 or so minutes in the dead of winter at a beach house on Long Beach Island New Jersey. Zach's character Charlie is staying at his friends beach house for a few days as he is having a bit of crisis at this point in his life. He is about to end it all, when a real estate agent walks in... Then follows a fireman, and then a high-class hooker his best friend arranged to cheer him up with. The stage is set for a bizarre and off-beat set of stories and revelations from this collection of four unlikely people. There is a detailed discussion about scabies and debates about the merits of various intoxicating substances. Projections help with the back stories of the characters, but it works best when it is just some off-beat random discussions about matters of trivial importance. Or are they? Whatever the case, the action moves briskly and the laughs are fairly constant.

The Shallow End currently playing at the Southwark Playhouse is an opportunity to revisit this satire on British media with recent events of phone hacking, arrests, resignations and enquiries in mind. The play is set at the wedding of a media mogul's daughter, who has just brought a broadsheet newspaper and it about to take it downmarket. During the celebrations the axe is about to be weilded on the old guard as debates about about the future of a newspaper in the digital age.

Excellent Choice - a two-man show by Rob Hayes - is a brief and (ahem) palatable choice to start the evening. Part of the final week of the Vault Festival at the Old Vic Tunnels at Waterloo Station, it is a funny and dark half hour show that goes down very well. The theatre space being slightly damp and a former office within the National Rail archive only adds to its mildly creepy premise. This short play is about a young man who visits a rather unusual rare wine shop and has some very specific requirements. What seems to be an ordinary transaction quickly becomes something different. The punchline is hilarious (although possibly offensive). To speak more about it would be to give too much away. What holds it all together is two brilliant performances by Benjamin Dilloway as the customer (above left) and Jeff Rawle as the shopkeeper (above right). Apart from giving the production a bit of class, they play their roles in all seriousness and ignore the fact the other half of the roo

A passion for life (and music) is certainly a message loud and clear from this revival of Master Class , Terrence McNally's play about the original opera super star Maria Callas who is running a master class for aspiring opera singers. Inspired by the classes she ran at the Juilliard School in New York in the early 1970s, she alternates between being repulsed and intrigued by her students and then caught up in how their performances evoke memories of her past glories. The play is an opportunity to see Tyne Daly on stage and she delivers a commanding performance as the no-nonsense diva. Dominating, witty with impeccable timing and occasionally vulnerable, her performance is something to be savoured. And it distracts you from being too bothered by some of the other quirks of the material such as occasional overlong scene and superflous characters. Naturally anything about Callas is going to bring out her groupies en masse (including a variety of homosexual types), but you don'

It is easy to appreciate the music of Berlioz, Ravel, Stravinsky and English Born composer Thomas Adès when it is the New York Philharmonic performing. Part of their residency series at the Barbican , Friday night was an opportunity to be wowed by some impressive musicianship and a passion for music. You know you're in for something a little bit different when you notice that after taking your seats you're surrounded by various members of the brass section. This was for Adès piece Polaris which had its European Premiere and was a joint commission with the Barbican and New York Philharmonic. It was an intriguing and hypnotic piece, although depending on your proximity to the off stage brass may have swayed your views on it (as no doubt you would not have heard much else). The above video shot for its premiere in New York gives some context to it The rest of the programme featured Joyce DiDonato in Berlioz’s song cycle Les nuits d’été which gave a delicate and light touch to