Chris Omaweng is an Administrator at AmChurchLondon. He specializes in arts and entertainment, with a focus on film and cinema, as well as topics related to animals and animal care. Chris is featured in London Theatre 1, where he serves as the lead reviewer and engages with the community as a Facebook group admin.
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Chris Omaweng's articles primarily focus on event coverage, reviews, and expert commentary within the entertainment industry in London. If pitching to him, consider offering exclusive insights or interviews with actors or directors of significant local theater productions.
Given his extensive play review coverage, he might also be interested in pitches related to behind-the-scenes looks at the making of successful theatrical productions or access to exclusive performances.
Additionally, Chris has a strong focus on London-based entertainment news and local events. Therefore, providing information about upcoming plays or unique cultural events specific to London could capture his attention.
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Familiarity breeds contempt, but yet another outing of Krapp’s Last Tape demonstrates that it isn’t universally applicable. The evening starts, however, wit
Regular theatregoers will be familiar with certain commonplace happenings backstage. For instance, you know it’s the last night of a production when there’s an articulated lorry or two or three parked round the corner from the theatre, ready to whisk everything away that very evening. Crews and stagehands, to my mind, always seem to work at considerable pace, always in a hurry. But as Eden Phillips’ memoirs would have it, there was also, at least in the Sixties and Seventies, a fair bit of downtime, enough for a drink at the nearest pub (that stagehands drank on the job in the first place was news to me). And, of course, having worked out how long it takes to do whatever they had to do before / during / after a performance, it wasn’t long before they could time with exquisite precision how long they could sit in the pub for.
Billy (Waleed Akhtar) and Zafar (Esh Alladi) are both Pakistani. It hardly takes a genius, then, to work out what the ‘p’ word of the show’s title is. A l
Tunes like ‘Live in Living Color’ and ‘Goodbye’ from Catch Me If You Can have made appearances in enough musical theatre concerts in recent years to be
Some former colleagues I worked with many years ago in university administration would love reading the script for Driftwood. Coming from the Caribbean themselv
Set in a Christian youth camp in the Oregon mountains in the summer of 2019, this isn’t a play that’s likely to convert anyone to faith and spirituality. Qu
Forget the slow-motion fight scenes in the most recent National Theatre production of Coriolanus – this small-scale offering from the Acting Gymnasium isn’t
Theatregoers who have seen various iterations of this show – I count myself among them – will note the various differences that appear in this production. N
In Bed With My Brother, as Nora Alexander, Dora Lynn and Kat Cory call themselves, describe themselves as “gleefully swerving between silly and sinister, play
Are ‘the best songs from the worst musicals’ better than the ‘worst songs from the best musicals’? Admittedly, the invitation-only show your reviewer at
