{"id":66693,"date":"2026-08-06T11:53:28","date_gmt":"2026-08-06T10:53:28","guid":{"rendered":"https:\/\/londoncult.co.uk\/?p=66693"},"modified":"2026-08-06T11:54:02","modified_gmt":"2026-08-06T10:54:02","slug":"theatre-in-august-from-musicals-to-drama","status":"publish","type":"post","link":"https:\/\/londoncult.co.uk\/en\/theatre-in-august-from-musicals-to-drama\/","title":{"rendered":"Theatre in August: From Musicals to Drama"},"content":{"rendered":"\n
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Jeeves Takes Charge<\/strong><\/h4>\n\n\n\n

Charing Cross Theatre<\/strong><\/p>\n\n\n\n

Villiers St, London WC2N 6NL<\/strong><\/p>\n<\/div>\n\n\n\n

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Photo: charingcrosstheatre<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Charing Cross Theatre is one of those magical venues where something unique, beautiful and rather like a precious miniature always seems to be happening. And here we are again: two hours of pure pleasure \u2014 light, witty and impeccably English. Jeeves Takes Charge returns to London, this time to the stage of Charing Cross Theatre. This is the much-loved world of P. G. Wodehouse: country houses, formidable aunts, disastrous engagements and Bertie Wooster, who can turn practically any everyday difficulty into a gloriously entertaining catastrophe \u2014 and still emerge from it unscathed.<\/p>\n\n\n\n

The main reason to see the production is the actor Sam Harrison. This is his showcase and his kingdom: he may be alone onstage, but he plays no fewer than twenty-two characters. They range from Bertie himself and the unflappable Jeeves to Florence Craye, Gussie Fink-Nottle, Bingo Little, Uncle Willoughby and Aunt Dahlia. A whole swarm of other Wodehousian eccentrics flickers around them. This is not merely a sequence of costume changes, but a virtuoso performance in which the voice, posture, facial expression and rhythm of speech can alter almost instantaneously.<\/p>\n\n\n\n

Naturally, the production is based on stories by P. G. Wodehouse, adapted by James Duke, Edward Duke and Hugh Wooldridge.<\/p>\n\n\n\n

Hugh Wooldridge directs all this magnificent madness. He staged the original version with Edward Duke back in 1980 and has now rebuilt the production around a new performer. The visual world is created by designer Caite Hevner. Her solution is contemporary and perfectly suited to the concept: video projections carry the audience from a London drawing room to a country estate.<\/p>\n\n\n\n

Jeeves Takes Charge gives us a couple of hours in a wonderfully unusual state of mind, in which any catastrophe can be put right as long as an intelligent valet is nearby. A text loved by generations, a remarkable performer and a play now forty-five years old come together to create a very particular kind of theatrical happiness.<\/p>\n\n\n\n

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The Story<\/strong><\/h4>\n\n\n\n

Olivier Theatre<\/strong>\u2028<\/strong><\/strong><\/p>\n\n\n\n

National Theatre<\/strong><\/p>\n\n\n\n

South Bank\u2028London SE1 9PX<\/strong><\/p>\n<\/div>\n\n\n\n

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Photo: nationaltheatre<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

At the end of August, the National Theatre presents The Story. This fast-moving, tense and strikingly contemporary production begins with the murder of a white teacher in a predominantly Black neighbourhood. Four journalists race to secure the scoop, but new developments gradually transform an ordinary pursuit of a headline into a dangerous investigation. Each of them must decide what they are prepared to sacrifice for their own version of the truth. How far can one go in pursuit of a sensational story? What does morality mean? How do we overcome fear? Is there such a thing as objective truth?<\/p>\n\n\n\n

The play was written in the early 2000s by the American playwright Tracey Scott Wilson, who is known to American theatre audiences for her incisive writing about racial and class conflict and moral compromise. International audiences may recognise her work on the television series The Americans and Fosse\/Verdon, as well as the film Respect. The Story was first staged at New York\u2019s Public Theater in 2003 and has subsequently been produced by a number of American theatres.<\/p>\n\n\n\n

The National Theatre production, directed by Clint Dyer, marks the play\u2019s British premiere. Dyer brilliantly transforms a public, ostensibly \u201cnewspaper\u201d conflict into something private, immediate and almost physically tangible. The discussion of racial conflict, the power of the press and professional ethics breaks free from the framework of calm debate and becomes a fire-breathing dragon: a thriller in which the stakes change constantly and without warning.<\/p>\n\n\n\n

The cast provides another powerful reason to see the production. It features Letitia Wright, known to millions from the Black Panther films, actor and musician Ashley Thomas, Lorraine Toussaint from Orange Is the New Black and Wilf Scolding, who appeared in the London production of Cabaret. It is one of those rare occasions when performers with very different energies \u2014 cinematic, televisual and theatrical \u2014 meet on the same stage. The story itself is structured so that each of them can offer the audience an utterly convincing version of the truth.<\/p>\n\n\n\n

Here is the uncomfortable question: do journalists simply tell us what happened, or do they quietly create the reality in which we subsequently believe? And what happens when the desire to restore justice collides with ambition, fear and the need to publish the story first?<\/p>\n\n\n\n

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Holy Fool<\/strong><\/h4>\n\n\n\n

Park Theatre<\/strong><\/p>\n\n\n\n

13 Clifton Terrace, Finsbury Park, London N4 3JP<\/strong><\/p>\n<\/div>\n\n\n\n

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Photo: parktheatre<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

The world premiere takes place at Park Theatre on 27 August. Holy Fool tells the story of composer Dmitri Shostakovich, but this is certainly not a solemn biopic about a great man. It is the story of someone forced to guess, every day, which musical note might help him survive and which might lead to arrest, torture or death. Public success offers no protection to the artist, the play tells us. At times, it can become a lure, making the individual more visible and more vulnerable to the machinery of repression.<\/p>\n\n\n\n

The play is written by Rosalind Adler and Lea Sellers and directed by Kate Fahy. The authors explore Shostakovich\u2019s double life: outwardly, he submits to the demands of the state, while inwardly he continues to resist. His music becomes a kind of code. It can fulfil an official commission while simultaneously conveying something entirely different to those capable of hearing its concealed meaning.<\/p>\n\n\n\n

The composer is played by Benjamin O\u2019Mahony. He is joined by Jenna Augen as Nina, Phoebe Pryce as Katya and Fergus O\u2019Donnell as Izaak. The creative team includes designer Will Fricker, lighting designer Oliver Fenwick and sound designer Julian Starr. The music of Shostakovich himself will, naturally, form an essential part of the production.<\/p>\n\n\n\n

Despite the darkness of its subject, the creators promise not simply a tragedy, but a tense, humane and at times very funny production. The absurdity of a totalitarian system is often terrifying precisely because it is so ridiculous: a person must constantly guess the mood of those in power, agree with obvious lies and somehow attempt to preserve a private sense of self.<\/p>\n\n\n\n

Holy Fool is therefore not only a play about the history of the Soviet Union. It also speaks to the present-day world, in which artists, writers and journalists continue to face censorship, pressure and punishment for expressing public disagreement.<\/p>\n\n\n\n

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Kimberly Akimbo<\/strong><\/h4>\n\n\n\n

Hampstead Theatre<\/strong><\/p>\n\n\n\n

Eton Ave, London NW3 3EU<\/strong><\/p>\n<\/div>\n\n\n\n

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Photo: hampsteadtheatre<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

At the very end of August, Hampstead Theatre welcomes the British run of the musical Kimberly Akimbo. Its heroine is a teenage girl with a rare medical condition that causes her body to age far more quickly than normal. This is not, however, a bleak medical drama. Kimberly wants to fall in love, make friends, do foolish things and set off in search of adventure while she still has the chance.<\/p>\n\n\n\n

The book and lyrics are by playwright David Lindsay-Abaire, with music by Jeanine Tesori, and the European premiere is directed by Michael Longhurst. Matt Cole is responsible for the choreography, Nigel Lilley for musical supervision and Sutra Gilmour for the design. Together, they form a team capable of preserving the fragile balance between eccentric comedy, family chaos and a deeply tender conversation about time and illness.<\/p>\n\n\n\n

The leading role is played by one of the most important figures in British musical theatre, Maria Friedman. An actor and director, she is particularly celebrated for her interpretations of the work of Stephen Sondheim, including her legendary performance in Merrily We Roll Along, as well as her appearances in Passion and Ragtime and her own musical-theatre productions in London and the West End.<\/p>\n\n\n\n

Everything in Kimberly\u2019s life is slightly askew. Her family is far from ideal, the adults behave worse than the teenagers, first love appears in the most awkward of circumstances and plans for the future must be made with unusual speed.<\/p>\n\n\n\n

That is precisely why the production promises to be not only funny and strange, but genuinely life-affirming. Above all, Kimberly Akimbo reminds us that an adventure does not have to be sensible to be important.<\/p>\n\n\n\n

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Death Note: The Musical<\/strong><\/h4>\n\n\n\n

Barbican Theatre\u2028Silk St,<\/strong><\/p>\n\n\n\n

Barbican, London EC2Y 8DS<\/strong><\/p>\n<\/div>\n\n\n\n

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Photo: barbican<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Anyone looking for scale, music and dark beauty this August should turn their attention to Death Note: The Musical at the Barbican Theatre. The production is based on the celebrated manga written by Tsugumi Ohba and illustrated by Takeshi Obata, which has sold more than thirty million copies around the world.<\/p>\n\n\n\n

The protagonist, a brilliant student named Light Yagami, accidentally acquires a notebook capable of killing anyone whose name is written on its pages. At first, he convinces himself that he is simply cleansing the world of criminals, but the right to judge others quickly develops into an intoxicating form of power. A mysterious detective known as L attempts to stop him, and the production becomes a psychological duel between two brilliant minds, each entirely convinced of his own understanding of justice.<\/p>\n\n\n\n

The music is by Frank Wildhorn, the composer of Jekyll & Hyde and Bonnie & Clyde. The lyrics are by Jack Murphy, while the book is by Ivan Menchell. The new production is directed by Stephen Whitson, with choreography by Fabian Aloise. Its expansive visual world is created by set designer Jon Bausor and costume designer Sachiko Nakahara. The script has also been reworked for the London production, with new songs added.<\/p>\n\n\n\n

Light is played by Xander Pang, while his principal opponent, L, is portrayed by Colin Ryan. They are joined by Stephanie Zaharis as Misa Amane, Telly Leung as the death god Ryuk and Grace Mouat as Rem.<\/p>\n\n\n\n

This is clearly a production for admirers of the original manga, but no prior knowledge of the Death Note universe is required. The musical is conceived as a self-contained story about power, morality and the price of attempting to play God. A question posed at the very beginning becomes increasingly frightening as the story develops: what happens to a person who gains the power to decide, without fear of punishment, who deserves to live?<\/p>\n\n\n\n

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Tao of Glass<\/strong><\/h4>\n\n\n\n

@sohoplace<\/strong><\/p>\n\n\n\n

4 Soho Pl, Charing Cross Rd, London W1D 3BG<\/strong><\/p>\n<\/div>\n\n\n\n

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Photo: sohoplace<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Should you find yourself wanting not so much to follow a plot as to enter a world of music and someone else\u2019s memories, go and see Tao of Glass at @sohoplace. It is simultaneously a concert, an intensely intimate story that approaches the territory of confession, a philosophical parable and, to some extent, a piece of puppet theatre. Where does inspiration really come from, and what remains with us after loss?<\/p>\n\n\n\n

Tao of Glass grew out of the long creative partnership between composer Philip Glass and director, writer and performer Phelim McDermott. They have worked together on major opera productions, including Akhnaten and Satyagraha, but this project is considerably more intimate and personal. McDermott tells ten reflective stories about life, death and creativity, each accompanied by a new musical work by Glass. The production is co-directed by McDermott and Kirsty Housley.<\/p>\n\n\n\n

McDermott himself appears onstage as both narrator and guide through this strange, fragile world. He is joined by puppeteers Sarah Wright and Janet Etuk, working with puppets created by Lindy Wright, as well as a musical ensemble.<\/p>\n\n\n\n

Music does not merely accompany the action here, but exists on equal terms with it. Stories emerge from sound, and at times even the objects themselves seem to begin moving to its rhythm.<\/p>\n\n\n\n

This is not a traditional play with a playwright, clearly defined characters and a linear plot. It is an intensely personal theatrical essay. The production contains paper, miniature worlds, puppets, improvisation and that particular kind of theatrical humour that prevents a serious conversation from becoming ponderous.<\/p>\n\n\n\n

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As You Like It<\/strong><\/h4>\n\n\n\n

Shakespeare\u2019s Globe<\/strong><\/p>\n\n\n\n

21 New Globe Walk, London SE1 9DT<\/strong><\/p>\n<\/div>\n\n\n\n

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Cast members at rehearsals for the play. Photo: Marc Brenner\/Shakespeare’s Globe<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

It is difficult to imagine August in London without at least one evening at Shakespeare\u2019s Globe, and this year As You Like It looks particularly tempting. Shakespeare\u2019s comedy explores love, freedom and the joy of being oneself. The action has been moved to the eighteenth century: a rigid courtly world of immaculate white wigs and lofty ambitions gives way to the Forest of Arden, which seems to grow anew onstage during every performance.<\/p>\n\n\n\n

A brief reminder of the story: Rosalind has been thoroughly exhausted by the court and its rules, the new duke and all those dreary days. Together with her cousin, she escapes into the forest, disguises herself as a man and suddenly gains an opportunity to test love \u2014 including the feelings of her beloved, who fails to recognise her in her new appearance. From there, everything unfolds in suitably Shakespearean fashion, while the forest becomes a place where familiar roles and rules no longer apply.<\/p>\n\n\n\n

The play by William Shakespeare is co-directed by Sean Holmes and Charlie Josephine. Their version is no museum reconstruction, but a bold and highly physical comedy about desire and liberation. Charlie Josephine also plays Orlando, while Lola Shalam takes the role of Rosalind. Gracie Oddie-James appears as Celia, Katherine Pearce plays Jaques and Johnny Broadbent plays Touchstone.<\/p>\n\n\n\n

The production is designed by Paul Wills, with music by Katie Richardson. Prepare yourselves: the court will gradually transform into a forest, that place of freedom where one can discard not only a wig or a formal costume, but also the identity imposed upon us by other people.<\/p>\n\n\n\n

As You Like It is worth seeing for that unmistakable experience of a summer evening at the Globe, when the boundary between the stage and the auditorium becomes fluid and the comedy seems to take possession of the entire theatre. There will be disguises, confusion, music and love in all its awkward and beautiful forms.<\/p>\n","protected":false},"excerpt":{"rendered":"

August. What do you mean, it is August already? Should you happen to be spending the month in London, remember that the city\u2019s theatrical life does not slow down even during this sweet final stretch of summer. We have selected seven productions that will make August 2026 unforgettable.<\/p>\n","protected":false},"author":91,"featured_media":66694,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[86],"tags":[],"type_post":[184],"column":[185],"class_list":["post-66693","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","column-letters-from-the-theatre"],"_links":{"self":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts\/66693","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/users\/91"}],"replies":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/comments?post=66693"}],"version-history":[{"count":1,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts\/66693\/revisions"}],"predecessor-version":[{"id":66702,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts\/66693\/revisions\/66702"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/media\/66694"}],"wp:attachment":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/media?parent=66693"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/categories?post=66693"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/tags?post=66693"},{"taxonomy":"type_post","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/type_post?post=66693"},{"taxonomy":"column","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/column?post=66693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}