musicals
sheila.johnston
It's the Mousetrap of musicals, the wholly unstoppable show and, to mark its 25th anniversary this year (the 30th, if you date it back to the initial French concept album and Paris production), it will be staged in London at three different venues. You can even see them all in a single, mighty weekend bender, if the mood takes you: the original Les Misérables at the Queen's Theatre, a celebratory all-star concert at the O2 Arena on 3 October and an invigorating new production which plays at the Barbican after a national tour until 2 October.Sadly, in this annus miserabilis, the festivities Read more ...
Matt Wolf
A vital theatrical partnership gets renewed, and then some, in Jamie Lloyd's revival of Passion, a transforming production that not only marks the start of various Donmar-related tributes to Stephen Sondheim in his 80th birthday year but also reminds us that this theatre reopened its doors in 1992 with the UK premiere of Assassins, since which time it has staged five further Sondheim shows; Passion, to speak as openly as this musical's heroine does of the entire spectrum from ecstasy to pain, is one of the very best.A vital theatrical partnership gets renewed, and then some, in Jamie Lloyd's Read more ...
edward.seckerson
In the 1960s Des McAnuff played guitar and wrote songs to meet girls. Subsequently life became a little more complicated for the multi-talented writer/ director. His long-standing commitment to the Shakespeare Festival Theatre at the other Stratford - in Ontario, Canada - has won him many plaudits and he is now director emeritus of the La Jolla Playhouse in California where so many important projects have germinated, including his Tony Award-winning production of The Who's Tommy and the forthcoming musical adaptation of Doctor Zhivago with a score by Lucy Simon.
Zhivago opens in Sydney, Read more ...
alexandra.coghlan
It takes a brave company to revive a notorious Broadway flop. It takes an even braver one to supplement a small cast with an amateur, community chorus of over 60 people, onstage for almost the entire duration. The Young Vic can rarely be accused of lacking ambition, and their latest production – sprawling American musical The Human Comedy by Hair’s Galt MacDermot – is as ambitious as it gets. Reinventing a flawed fantasy-parable about community as genuine community theatre, they have tapped into a sincerity that no amount of slick Broadway effects could hope to match – a sincerity that, if it Read more ...
Ismene Brown
Every time I go to Sadler’s Wells now I come out wondering if there’s something wrong with my hearing, so loud and numbing are their speakers. It’s a blight on a lot of shows, but on none more so than Shoes, because this is the first major London production written by that celebrated musical witsmith Mr Richard Thomas since his Jerry Springer, The Opera, and last night I missed probably half the words that I’m guessing should be the chief merit.So is it fair for me to say how disappointed I am by the production? You may have a better acoustic seat. On the other hand, I’m guessing that a lot Read more ...
Ismene Brown
Richard Thomas wrote Jerry Springer, The Opera, as everyone knows - and he is soon to unveil Anna Nicole, the opera. Can this be the same Richard Thomas who’s written a dance show at Sadler’s Wells, with a cheesy poster, called Shoes? It hardly seems likely. Flames, expletives, scabrous lines, suppurating satire - that’s what makes a Richard Thomas show, not (surely) tap-dancing in platforms and ballet-dancing in flip-flops?The critics will start telling you tomorrow what to think about it after tonight’s press night, but, according to Thomas himself, no one has to tell anyone what they think Read more ...
Ismene Brown
I suspect that more than half the audience that goes to see Dirty Dancing on stage has seen the 1987 movie, and that quite a few of them have seen the stage version more than once. There’s a strange feeling of being at a party where everyone knows everyone, and the party’s held nightly at the same house. It surely is not the misleading title that accounts for the wildly enthusiastic flow of fans - there’s nothing dirty about this squeaky-clean story, and there’s not that much dancing either. No, it must be that eternal celluloid magic, the girlish fantasy of entering a favourite movie and Read more ...
theartsdesk
Bo Burnham says he doesn’t like the terms musical comic, internet sensation or teenage wonder. Well he’s all three, save the last now, as he turned 20 during this year’s Fringe - and anyway he prefers the term prodigy, he tells us in deadpan tones typical of the deeply ironic, faux offensive manner of his performance style. But sensationally talented he undoubtedly is, and this is an hour so stuffed with gags - verbal, visual and musical - that one almost doesn’t have enough time to savour each one before yet another rolls by.Bo Burnham, Pleasance Dome *****
Burnham began doing musical skits Read more ...
Matt Wolf
Wicked is that rare Broadway musical transplant to London that has recouped its costs - and how. Part paean to female empowerment, part parable of life in Bush-era America or any land on the desperate look-out for an enemy, the show also offers spectacle a-plenty amidst a musical theatre climate increasingly defined by the Menier Chocolate Factory and its various progeny, whereby less is more (which, in fact, sometimes it is).How then is this speculation on the state of Ozian affairs prior to a certain iconic film - hint: think yellow brick roads and Toto - holding up as it enters its fifth Read more ...
alexandra.coghlan
It may have been the glossy, Labrador-like abandon of John Wilson and his fabulous orchestra, but barely two bars of the Oklahoma! overture had passed before I caught myself grinning and drifting into critical neutral. Richard Rodgers’ scores are built for a symphony orchestra, and the massed forces of over 50 strings, swollen brass and percussion sections, brought out their sweeping, sparkling best. There have been major international orchestras this season that have failed to muster half the energy and commitment Wilson drew from his players; the overtures and instrumental interludes (in Read more ...
Matt Wolf
Chicago, in some ways, remains the great musical theatre surprise success of modern times. Bob Fosse's dissection of sex and violence in the Windy City had a respectable Broadway run back in the 1970s (898 performances in all), featuring a heavyweight cast, two of whose three stars (Gwen Verdon and Jerry Orbach) are, alas, no longer with us.Chicago, in some ways, remains the great musical theatre surprise success of modern times.Bob Fosse's dissection of sex and violence in the Windy City had a respectable Broadway run back in the 1970s (898 performances in all), featuring a heavyweight cast Read more ...
Veronica Lee
He may call it Titting About, but Kevin Eldon’s show, his first as a solo performer (at the grand age of 49), should be made compulsory viewing for young comics. For this is a man who has learned his craft, the value of good writing, of stage presence, of timing and myriad other things while putting together a lengthy CV that includes Nighty Night, I’m Alan Partridge, Fist of Fun and Brass Eye. If you have seen him in any of those, you will know he's a comedic actor of great range and restraint.Kevin Eldon, The Stand ****
Eldon first comes on in the guise of “most promising poet of 1988” Paul Read more ...