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    <title>The Oxford Times | Theatre</title>
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    <pubDate>Tue, 21 May 2013 20:07:54 +0100</pubDate>
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           <title>Agatha Christie's The Mousetrap: Milton Keynes Theatre</title>
           
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  As the curtain fell on The Mousetrap at Milton Keynes on Monday, the unmasked murderer stepped forward to tell the audience we were now all partners in crime. “We ask you to keep the secret of who
  dunnit closely in your hearts.”
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           <pubDate>Tue, 25 Sep 2012 11:00:27 +0100</pubDate>
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           <title>Frankie and Johnny In the Clair de Lune: The Theatre, Chipping Norton</title>
           
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  THE vigorous copulation that begins Frankie and Johnny In the Clair de Lune might be deemed rather shocking for audiences.
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           <pubDate>Thu, 20 Sep 2012 15:23:16 +0100</pubDate>
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           <title>New Oxford theatre company inspired by Elizabethan concepts</title>
           
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  Just when you thought Oxford was sufficiently endowed with theatrical companies, along comes another to add to the mix — and the founders promise that this one will be refreshingly different.
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           <pubDate>Thu, 30 Aug 2012 11:00:00 +0100</pubDate>
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           <title>Tough girl reputation</title>
           
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  Kate O’ Mara can scarcely conceal her disdain for her part in Murder On The Nile coming to the Oxford Playhouse on Monday.
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           <pubDate>Thu, 30 Aug 2012 10:00:00 +0100</pubDate>
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           <title>Theme is a dead ringer for our era</title>
           
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  Nick Utechin hears how North Wall’s upcoming Dead On Her Feet chimes with issues today
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           <pubDate>Thu, 30 Aug 2012 10:00:00 +0100</pubDate>
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           <title>Bully Boy: Royal&amp;Dergate, Northampton, and St James Theatre, London</title>
           
           <link>http://www.oxfordtimes.co.uk/leisure/archive/theatre_art/theatre/9898956.Bully_Boy__Royal_Dergate__Northampton__and_St_James_Theatre__London/?ref=rss</link>
           
           
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  Famous as a radio presenter, comedian and novelist, Sandi Toksvig possesses yet another side to her exuberant talents, as a writer for the stage. After supplying the book for the musical Big Night
  Out and co-authoring the comedy Pocket Dreams, she next turned her attention to serious drama. Bully Boy, which studies the effect of wars on those we send to fight them, opened to critical acclaim
  in Southampton last year. With the same two-strong cast — the hugely respected Anthony Andrews and charismatic newcomer Joshua Miles — it is at Northampton’s Royal&amp;Derngate before moving to
  London where it will open the new St James Theatre, Victoria, on September 18.
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           <pubDate>Wed, 29 Aug 2012 13:51:19 +0100</pubDate>
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           <title>Hysteria: Oxford Playhouse</title>
           
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  Though Terry Johnson’s Hysteria was named Best Comedy in the 1994 Olivier Awards, the play is not exactly, well, hysterical. Unlike Johnson’s next success Dead Funny, which supplies what the title
  appears to promise, Hysteria — skilfully revived under the direction of its author — is only fitfully amusing. I laughed about as often as its protagonist Sigmund Freud tells us he did on a visit
  to Ben Travers’s Rookery Nook: four times, he says, with characteristic precision.
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           <pubDate>Wed, 29 Aug 2012 13:38:24 +0100</pubDate>
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           <title>Sher and share alike</title>
           
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  Antony Sher’s credits would make most actors weep with envy. But does he save it all for the stage? KATHERINE MACALISTER finds out
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           <pubDate>Thu, 23 Aug 2012 10:24:15 +0100</pubDate>
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           <title>Timon of Athens: The National Theatre</title>
           
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  First he revels, then he rants, the two phases in the career of Timon of Athens being perfectly caught in another spellbinding performance from Simon Russell Beale.
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           <pubDate>Wed, 22 Aug 2012 14:33:53 +0100</pubDate>
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           <title>Carousel: Opera North, The Barbican</title>
           
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  It was quite a shock initially: at the Barbican the words actually seem to come out of the singers’ mouths, not from loudspeakers. This production of Rodgers and Hammerstein’s Carousel comes from
  Opera North, whose singers don’t, of course, need the usual massive amplification. Opera North has a long and successful history of presenting Broadway classics alongside more conventional operatic
  fare, and Carousel suits it to a tee. Using a less obviously effervescent, but beautifully crafted score to match a storyline that sometimes digs dark and deep, this is a heartfelt show that plays
  to the strengths of an opera company. Director Jo Davies has resisted all temptation to glam or schmaltz up the story, which concerns local girl Julie Jordan falling in love with fairground hand
  Billy Bigelow. Billy is ever short of cash, however, and gets involved in a robbery that goes disastrously wrong. Davies lets plenty of fresh air into her production, but keeps a raw edge too. Her
  approach is matched by Anthony Ward’s wood-plank set design, which also delivers some memorable special effects. For instance, the carousel ride on which Billy works is magically assembled together
  in seconds as the parts whizz in from the wings and the flytower above — I really felt for the Noyce family who spend hours erecting their carousel at St Giles’ Fair each year. The tricky business
  of staging Billy’s judgement day in Heaven is most effectively handled by making it an audition for a silent movie part, presided over by the magisterial John Woodvine, playing the director.
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           <pubDate>Wed, 22 Aug 2012 14:24:34 +0100</pubDate>
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