Shots from Selladoor Worldwide’s stunning production of Steinbeck’s Of Mice and Men, directed by Guy Unsworth.
The show is currently at the Royal & Derngate in Northampton and runs at various locations around the UK until the end of March.
A shout out for the Marlowe Theatre in Canterbury, where these pictures were taken, for being a beautiful venue in its own right!
Something completely different this time.
Shots from The Grift at the Town Hall Hotel in Bethnal Green, which takes audiences round this magnificent venue solving puzzles and learning con tricks on the way to getting revenge on the greatest con artist of all.
The fantastic experience runs to 25 March.
Production shots from the utterly unique 50s musical Teddy, which runs at the Watermill Theatre until 10 February before setting off on a national tour.
Production shots from the King’s Head Theatre’s Trafalgar Studios production of Strangers in Between, Tommy Murphy’s (both highly amusing and questioning) play about a gay teen growing up in modern Australia.
The show runs to 3 February.
George Bernard Shaw’s Heartbreak House is bringing in the new year at the Union in beautiful style. Production shots below.
Production shots from the thought-provoking Into the Numbers at the Finborough.
The play looks at writer Iris Chang, whose book The Rape of Nanking brought the 1937 massacre at Nanking back into the public consciousness, and who committed suicide at the age of 36.
Ringing out 2017, the irrepressible David Burt returns as Ebeneezer Scrooge in Antic Disposition’s adaptation of Dickens’ A Christmas Carol at the Middle Temple Hall.
The production closes tonight.
Production shots from the double-cast La Bohème at Trafalgar Studios, proof-positive that you can do amazing things with opera in small spaces!
The show runs to 6 January.
Production shots from the spectacularly colourful Rapunzel, which is playing at the Theatre Royal Stratford East.
Production shots from the formidable Mother Courage and her Children at the Southwark Playhouse, starring the lovely (and, in this, spectacular) Josie Lawrence.
