Christian Durham is a theatre director with an international career that includes London’s fringe, UK regional touring, and Resident and Associate direction of many West End shows including Chicago, Taboo, Zorro and Guys and Dolls.
By Christian Durham Thursday, July 11 2019, 15:44
Having not seen Joseph and The Amazing Technicolour Dreamcoat for some 30 years, it is quite a lovely surprise to be reminded just how good Andrew Lloyd Webber and Tim Rice’s score is. Memorable hit after memorable hit tumble after each other in this high octane re-invention of the classic musical that sent this writing team into the stratosphere with the general public in the 1970’s.
By Christian Durham Wednesday, September 26 2018, 15:02
When you walk into the Pinter Theatre for Pinter Two of the Pinter at the Pinter season, you are faced with a huge, stark monolith on stage with the word Pinter hewn into it. The feeling of being present in the cathedral of this theatrical legend, verges on the mythical or saintly. Once you let go of that reverence, which Pinter himself would have probably thoroughly disapproved of, Jamie Lloyd’s idea to bring together all of his short plays into one star-studded season is a wonderful and rare opportunity to re-examine this writer and what he offers us.
By Christian Durham Thursday, September 20 2018, 21:09
After a stop off in Edinburgh and Aldeburgh, Hightide lands in Walthamstow for its two-week London season. A pop-up hub of music, comedy, food, family shows and theatre with plenty of exciting new writing.
By Christian Durham Thursday, May 3 2018, 07:40
YOUNG FRANKENSTEIN was originally a movie written by Gene Wilder and Mel Brooks back in the 1970s. A highly successful spoof of the B movie horror films that were filled with monsters running amok, angry village mobs with burning torches in hand, baying for blood and protagonists trying to manipulate death.
By Christian Durham Saturday, February 3 2018, 14:59
In the programme notes of EUGENIUS, Andrew Lloyd Webber states that he wants The Other Palace to be a ‘space where writers and producers can try out and refine their work’. By taking away the need for big sets and automation, the focus can be on ‘the writing of the show itself’. EUGENIUS seems the perfect example of this ethos. After a rather confusing and troubled workshop in 2016, Ben Adams and Chris Wilkins have taken the time to crystalise their vision and clarify the story of this quirky American 80’s Geek-fest.
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