musicals
Veronica Lee
This is a show of such originality and inventiveness that I will struggle to convey just how much fun it is to watch a man perform sight gags and physical comedy for an hour - and who does indeed appear throughout with a strip of black gaffer tape over his mouth.The Boy with Tape on His Face, Gilded Balloon ****
Although New Zealander Sam Wills doesn’t speak a word and uses clowning skills in his act, this is far removed from the kind of knockabout humour that is usually accompanied by a hooter to mark the punchline. Instead he has an incredibly expressive face to convey his thoughts, whether Read more ...
edward.seckerson
Kerry Ellis amassed a legion of adoring fans when she went "green" playing Elphaba in Stephen Schwartz's smash-hit musical both in London and on Broadway. But her pre-eminence as a musical-theatre-diva-cum-rock-chick was secured earlier still when Brian May, the celebrated lead guitarist of Queen, asked her to play Meat in the Queen/ Ben Elton show We Will Rock You. May quickly recognised a symbiosis between them and their CD single Wicked in Rock sprung a rip-roaring reimagining of "Defying Gravity" with Brian May's amazing guitar riffs a key feature.
Now her debut album Anthems from Decca Read more ...
David Nice
Sometimes people leave you halfway through the wood. Sondheim meant that in a life-and-death kind of way, but it applied literally to this ingenious show at the autumnal August preview I attended. Some folk thought Act One’s knitting-up of polyphonic fairy-tale lines really was the happy end. Others found unseasonable damp gnawing their bones and slunk off to comforting warmth. Don’t go, I pleaded, it gets deliciously darker. Yet given a production even the teensiest bit less incisive than Richard Jones’s 1990 London premiere staging, I found myself doubting both the quality of that darkness Read more ...
Veronica Lee
Celia Pacquola made her Fringe debut last year after storming various comedy festivals in her native Australia with a show about her boyfriend’s infidelity and, while it was entertaining enough, it lacked a bit of oomph. But her new show packs a real emotional and comedic punch and displays a noticeable development of her writing and performing talents.Celia Pacquola, Gilded Balloon ****
It’s again an autobiographical story and ostensibly Flying Solos is about those moments in life when we have no choice but to go it alone. To illustrate the point, Pacquola describes the task she set herself Read more ...
alexandra.coghlan
For most people a 25th anniversary is cause for celebration – a party, a dinner, maybe a few speeches. If you are musical theatre phenomenon Les Misérables however, festivities operate on an entirely different scale. London struggles to support two opera houses, yet this anniversary year will be playing host to three separate (and briefly simultaneous) productions of Boublil and Schönberg’s classic show, including an all-star, cast-of-thousands spectacular at the O2.Skipping over what such excess says about the tastes of London’s theatre-goers, it also says much about the show itself. An all- Read more ...
Matt Wolf
You can't move in London for American performers, whether it's the Yankee contingent of The Bridge Project at the Old Vic, or the presence at various addresses of Mercedes Ruehl, Jeff Goldblum, Glee star (and erstwhile Tony nominee) Jonathan Groff, and, of course, pretty well the entire cast of Hair. But incomplete though that run-down is (one mustn't forget the silvery voiced Sierra Boggess in Love Never Dies or David Hyde Pierce's stern-faced mien in La Bête), few visitors have fired up the public as has Whoopi Goldberg, at the Palladium for three weeks to boost the musical, Sister Act Read more ...
theartsdesk
After making her Edinburgh debut last year, Tiffany Stevenson returns with another cracking show, Dictators. Ostensibly it’s about Mao, Hitler, Pol Pot, et al, but in reality she cleverly manages to do a show about the mother-daughter relationship and our obsession with celebrity in the guise of a political theme. Mums, celebs and bastards on the same bill - it's a stroke of genius.Tiffany Stevenson, The Stand ****
Stevenson is hugely likeable and self-deprecating; before she wrote this show, she tells us, “the Cultural Revolution was a pot of yoghurt to me”. But the serious stuff is Read more ...
David Nice
Everybody in the business says don’t think Sondheim is easy. I’ve seen galas where big names stumbled in under-rehearsed numbers, and last night Bryn Terfel and Maria Friedman slipped and almost fell on the same banana skins that had done for them in a hastily semi-staged Sweeney Todd. Not enough to matter, though, and they rightly brought the house down. And the show as a whole? Not quite a so-great-you-want-to-get-up-and-join-in event like last year’s MGM Prom, but still a stylish and slick homage to the great man in his 80th birthday year.The rhythms, the patter, the pathos, the pace Read more ...
alexandra.coghlan
With summer now fully upon us, and tourists flocking to the West End, it seems a good time to lift the bonnet on the tireless engine of London’s long-running hit shows. Over the next six weeks theartsdesk will be giving six of London’s hardest-working and longest-running classics – Les Miserables, The Lion King, Chicago, Billy Elliot, The Woman in Black, and of course The Phantom of the Opera – the once-over, checking to see whether all really is still running as smoothly and efficiently as it once was.There’s a country and western song (whether spoof or real it’s hard to tell) that goes by Read more ...
bella.todd
Revivals of George Bernard Shaw’s Pygmalion are generally too busy making an artistic case for the play over the My Fair Lady musical to worry about listening out for contemporary resonances. But in many ways Simon Cowell is the Henry Higgins of our day: betting with his fellow X-Factor judges that he can pass off such-and-such under-privileged teen as a pop star; putting them through their paces before a rigorous public test; and showing little regard for what will happen once they have been torn out of their reality and developed a taste for limos and red carpets, and Judgment Day has come Read more ...
Matt Wolf
The Menier Chocolate Factory could scarcely be on mightier form, or so it seems, punching far beyond its weight as a small, out-of-the-way south London playhouse that is nonetheless responsible at the moment for five commercial transfers between London and New York.The other three are Broadway musicals of different vintages and of differing degrees of renown, ranging from an alternately plaintive and raunchy product of the 1960s (Sweet Charity) to an arty 1970s Stephen Sondheim favourite (A Little Night Music) and on to a 1980s crowd-pleaser (La Cage aux folles) that won a Tony for Read more ...
David Nice
It's been quite a week for youth and the vernacular in the world of so-called “classical” music. Multiply by four the seven fledgling stage animals currently firing up John Adams’s “earthquake-romance” in London's East End, add an orchestra of 13-to-24-year-olds from four continents, student dancers, amateur choirs young and old and just a handful of professionals, and that's only the starting-point for this hair-raising, goosebump-inducing, 500-strong performance of what many of us believe to be Bernstein's most cohesive masterpiece.The real starting point, in fact, was nine months ago, this Read more ...