FILM REVIEW: The Danish Girl starring Eddie Redmayne and Alicia Vikander

WORTH A LOOK?: ***1/2

OUT: 1/1/16

British director Tom Hooper’s last two films – The King’s Speech and Les Miserables – won seven Oscars between them and so hopes are high for this, the story of one of the first recipients of sex reassignment surgery.

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THEATRE REVIEW: Sunny Afternoon

WORTH A LOOK?: ***

WHERE: Harold Pinter Theatre

WHEN: 26/12, booking to 16/4/16

We weren’t counting but there seemed to be at least 30 Kinks’ songs featured in this jukebox musical including the title track, Waterloo Sunset, Days, You Really Got Me, Lola and All Day and All Of The Night.

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9 reasons why we can’t wait for January

  1. Suede unleash Night Thoughts album

The premiere of Suede’s new album and film at Camden’s Roundhouse in November made our gig of the year shortlist (winners announced 3/1/16) and on 22/1/16 the band releases ambitious seventh album Night Thoughts. Like Kids is a beautiful (ones), in-the-face reminder for those who’ve not been keeping up.

  • Picture courtesy Suede via Facebook. Read on for reasons including David Tennant, Sia and Judi Dench.

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AWARDS SHORTLIST: Theatre of the year

It’s almost Christmas and what would the festive season be without some recognition of the best of 2015? Over the last fortnight we’ve shortlisted five nominees in each of seven categories for our Oscars, or monstas if you will, of 2015. Read on for the final nominees for our four theatre of the year monstas. Read More

THEATRE REVIEW: Guys and Dolls starring next Harry Potter, Jamie Parker

WORTH A LOOK?: *****

WHERE: Savoy Theatre

WHEN: 20/12 runs to 12/3/16

Casting has been announced for next year’s Harry Potter and the Cursed Child and its hero is Jamie Parker, who is currently starring in Guys and Dolls in the West End.

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THEATRE REVIEW: Hangmen

WORTH A LOOK?: ***1/2

WHERE: Wyndham’s Theatre

WHEN: 15/12, runs to 5/3/16

What did hangmen do after the abolition of capital punishment in England in 1964? That’s the brilliant idea at the heart of Martin McDonagh’s new play although its, ahem, execution could be more compelling.

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