★★★★★ The Beekeeper of Aleppo, at Nottingham Playhouse, tackles one of the most urgent humanitarian issues of our time through intimate, character-driven storytelling. With striking performances and thoughtful staging, this production explores trauma, resilience, and hope. But with such a vital message at its core, does the production succeed as powerful and engaging theatre, or does the gravity of its subject turn it into a message-heavy TED talk with fabulous lighting?

★★★★★ There are some productions that remind you why theatre exists at all, not simply as entertainment, but as a deeply human act of shared storytelling. Lace Market Theatre’s production of Things I Know To Be True is exactly that kind of experience.

Tom Holloway’s stage adaptation of Double Indemnity brings James M. Cain’s crime novella out of the shadows and onto the stage, transporting audiences into a world of deception and ambition. With a bold visual style that nods to Billy Wilder’s legendary film while striving to forge its own theatrical identity, the production embraces the aesthetics of film noir.

This is your weekly UK theatre news round-up, covering all the biggest casting announcements, tour news, premieres and industry updates from 1st February to 7th February. It’s been another busy week across the West End and beyond, with major musical announcements, new tours confirmed, and some exciting developments for the future of theatre production in the UK.

Theatre audiences have long cherished the moment when performers return to the stage after the final bow. This moment, known as the encore, has a rich history that reveals much about changing audience expectations and theatrical traditions. But where did the encore come from? When did the encore start? This post explores the origins of the encore, its role in opera, the rise of the curtain call, and how it has evolved into the theatrical and musical spectacles we enjoy today.

Konstantin Stanislavski changed the way actors approach their craft. His ideas reshaped theatre by focusing on truthful, human performances rather than exaggerated or artificial acting. For acting students and theatre makers interested in realism, understanding Stanislavski’s methods provides practical tools for bringing characters to life with honesty and depth. This post explores who Stanislavski was, his key techniques, and why his approach still resonates with audiences t

This is your weekly UK theatre news round-up. This article covers everything that’s been happening on and around UK stages between 25 January and 1 February, from West End shake-ups and major casting announcements to new musicals, regional premieres, and slightly unhinged future projects. Whether you’re booking ahead or just like to know what’s going on, here’s what you need to know.

★★★★★ Just when you think Mischief Theatre have scraped every last inch of material from the amateur dramatics barrel, they come bounding back with another festive offering in their ever-expanding Goes Wrong universe.

★★★☆☆ There’s something exciting about a ghost story staged just as the nights grow longer, and Francis Evelyn’s adaptation of The Signalman certainly leans into that allure.