Aliya Al-Hassan - Page 92

CATS is a strange phenomenon. Despite the fact that there is no real plot, its infectious songs and legendary choreography has meant that it has been playing around the world almost constantly since 1981.

Incredibly, it is over two decades since Irvine Welsh's cult classic, Trainspotting, landed on bookshelves and twenty years since Danny Boyle's film impacted on modern culture in a way rarely seen before.

A revue is a rare theatrical treat these days. In its heyday, the irresistible combination of light comedy, song and dance sketches was incredibly popular. Its golden age lasted from the early 1920s to the late 1950s and for much of that time its greatest practitioner was Noel Coward who wrote and appeared in a succession of revues on both sides of the Atlantic such as London Calling! (1923) and Sigh No More (1945).

Kelly Hunter, a Royal Shakespeare Company actress, began working with autistic children in 2002. Through this work and a desire to bring Shakepeare to children who do not have access to it, she developed the Hunter Heartbeat Method. Through this technique, autistic children are introduced to Shakespeare through the use of games and the rhythm of the iambic pentameter.

It is an unusual way to earn a living; manipulating your genitals on stage for the entertainment of others. But Puppetry of the Penis, or The Ancient Australian Art of Genital Origami, is just that.

Carol Churchill is one of our greatest playwrights; gems such as Top Girls and Far Away have challenged the concepts of theatrical writing in wonderful and exciting ways. Blue Heart at Orange Tree Theatre is a different animal. It is both clever and absurd, and Churchill tests many traditions of theatrical form, yet feels a little empty at its core.

In the theatre it is well known that; no matter what, the show must go on. This sentiment has rarely been portrayed so poignantly as it is in Ronald Harwood's Olivier award-nominated play The Dresser. First performed in 1980, the play returns to the West End in a fabulous revival of the tragic comedy that delves into the psyche of an actor well past his prime.

Somewhere in England is a piece of 1940s war-time nostalgia with a big heart, brought to life in the cosy surroundings of New Wimbledon Studio this week. The show is an escapist and pastoral view of an interesting part of history, when American GIs arrived in England to prepare for the invasion of Normandy. They brought with them nylons, Coca Cola and bags of energy and fun. The appearance of the lively and girl-deprived young soldiers in the quiet village creates ripples with all the residents; some welcome, some less so. The show tells the story as the GIs settle into village life over the course of an eventful year; falling in love, creating a stir and making life-long friendships.

Theresa Ikoko's brilliant debut play, Girls, is a visceral portrayal of life for three young girls, kidnapped and held captive by Islamic extremists somewhere in West Africa. As the danger to their lives becomes more apparent, the dynamic between the trio shifts. The friendship is tested by the circumstances they find themselves in and each must do what they can to survive.

The first thing to say about Good Canary is it is not always an easy play to watch. Zach Helm's expletive-ridden play is a darkly comic portrayal of mental disintegration, drug addiction and literary brilliance that is mesmerising and ultimately exhausting to sit through

Zoe Cooper's new play, Jess and Joe Forever, taps into an experience that so many of us have had; the intensity and importance of a friendship made on a childhood holiday.

Rossini's Il barbiere di Siviglia (The Barber of Seville) is perhaps the most famous 'opera buffa'- an informal style of comic opera developed to appeal to the lower classes in the early 18th Century.

The genius of Roald Dahl created some wonderfully villainous characters and two of the most vile must be the disgustingly horrible Mr and Mrs Twit. Bringing their story to life, with details such as the house turned upside down, worm spaghetti and bird pie, is a challenge few could tackle.

It is rare that you might see a Jewish florist, a sadistic dentist and a giant singing, flesh-eating plant on the same stage, but in Little Shop of Horrors, this is all part of the show.

As part of the celebrations of its 60th anniversary, the National Youth Theatre is presenting a trio of new plays at the Finborough Theatre. This week sees Olivier Award-nominated writer James Fritz's world premiere of The Fall, a mini epic in three parts, exploring the stark realities of contemporary themes of home ownership, financial difficulties and the care system in this country.

As a new year approaches, Alice is attempting to come out to her parents. Her partner of seven years, Fi, has a revelation of her own; she wants to become a man.

Commissioned by the Finborough Theatre in its search for exciting new works from Canada, Proud is the European premiere of a satirical political play written by multi-award winning, Canadian playwright Michael Healey. It is the third in a trilogy of his plays centred around exploring Canadian values.