Rosie was my winner!

Very much a first play that needed a few things ironed out, but by its close I found this to be deeply moving. Omari Douglas is displays a beautiful ode to queer history. Fundamentally, showed that the seeds that were sewn by the generation before are alive and vital now.

Very much a first play that needed a few things ironed out, but by its close I found this to be deeply moving. Omari Douglas is displays a beautiful ode to queer history. Fundamentally, showed that the seeds that were sewn by the generation before are alive and vital now.

Very interesting observations. I’m still hoping for an Imelda win. Dolly deserves something.

Not to say Fiddler is a shoo-in, but I’d be surprised if there isn’t a sweep. I do hate a sweep. Make it interesting.

I guess I’m the dissenting voice. For me, this was a talented cast let down by heavy-handed writing and direction that doesn’t allow them to dig deeper until it’s far too late in the play. Julie Hesmondhalgh & David Sheilds are masterful in its final moments. Lucky I stayed past the interval, though

Like any criticism of Natasha Hodgson in any way is null and void, tyvm

Take a revelatory Blanche, a ferociously good Stella, a brilliant interpretation of Stanley, and add beautiful staging, haunting moments, and exquisite design, and you have a near-perfect Streetcar. Bravo!

Finally got to see The Years, which, of course, deserves all its success. A stirring set of performances propel what is already a genius adaptation. A faultless production with the most striking ending.

What an event Kenrex is, and what a privilege it is to see such dynamic staging, writing, acting, and musicianship.

It exploits all the theatricality of true crime podcasts/docs to its full potential.

Started off the year with a bit of a dud.

While Sheffield’s Little Shop of Horrors boasted a talented cast, the ideas in this production felt too over-thought and under-developed for me.

Oh, I need to book for this!