musicals
graeme.thomson
Having already unearthed a Joseph, a Maria, an Oliver and a Nancy for three of Andrew Lloyd Webber’s many West End productions, at the same time generating several dozen hours' worth of free primetime publicity, the BBC are now aiding the “merciful Lord” in his search for a Dorothy (and a Toto, although we’ll have to wait until future episodes before we get into the Alan Partridge-esque circus of dog auditions) to tread the boards in his forthcoming stage adaptation of The Wizard of Oz.Over the Rainbow is basically The X Factor for girls raised on Boden and Birkenstocks. One candidate's Read more ...
edward.seckerson
Commissioned by Josef Weinberger Ltd on the occasion of Stephen Sondheim’s 80th birthday today, In Good Company is a unique three-part collage of intimate conversations I have had with some of Sondheim’s closest colleagues and collaborators. Michael Cerveris, Ted Chapin, Barbara Cook, Daniel Evans, Maria Friedman, Angela Lansbury, Patti LuPone, Cameron Mackintosh, Julia McKenzie, Hal Prince, Jonathan Tunick and John Weidman share their experiences, their recollections, and their often very personal insights into what makes this man such a colossus in the world of musical theatre.Since Read more ...
Matt Wolf
Furthering their reputation as the least predictable prize-giving organisation out there, the Laurence Olivier Awards last night gave their top prizes to a host of productions that have long departed London, starting with Best Play for Tennessee-born writer Katori Hall's The Mountaintop. You were thinking Enron or (my personal best) Jerusalem? You'd be wrong.And so it went throughout an evening that dangled an odd carrot in the direction of some of the West End's reigning hits, giving Enron yet another directing trophy for Rupert Goold and Jerusalem the prizes for set design (Ultz's epic Read more ...
Adam Sweeting
Rarely has a TV series been so easy to like and so tricky to define. If you shoved High School Musical, American Idol and The Breakfast Club in a blender, you'd be in the right ballpark, though you still wouldn't quite have captured Glee's unique tone of sweetness, campness, tragic teenage confusion and satire.On the face of it, the setup is simple. McKinley High School’s earnest, optimistic Spanish teacher Will Schuester (Matthew Morrison) seeks to revive the school’s after-hours glee club, partly out of nostalgia for his own glory days in the high school choir. But the cool Read more ...
Matt Wolf
In movies and on TV we expect sequels and spin-offs and the perpetuation of a franchise whereby we follow Rocky, The Terminator, or whomever seemingly to the grave. But theatre has tended to take the high road: Chekhov never revealed whether the three sisters actually reached Moscow. (What do you think?) And the nearest Beckett got to Waiting For Godot 2 are Hamm and Clov in Endgame, who can be seen as Didi and Gogo filtered through an even bleaker end of the existential prism. So the first thing to be said about Love Never Dies, Andrew Lloyd Webber's sure-to-be-debated follow-on Read more ...
Matt Wolf
What happens when you show up but your voice doesn't? That scenario - any performer's worst nightmare - was borne out Sunday night at the New Players Theatre, where Broadway star Stephanie J Block cancelled the second of two back-to-back concert performances with 15 minutes to go before her 8.30 pm set was due to start.That will have come as major bad news for Block's rabid fanbase as befits a Broadway alumna of the musicals The Boy from Oz, Nine to Five, and The Pirate Queen who is nonetheless best-known for appearing on Broadway and on tour in America as the green-skinned Elphaba in the Read more ...
Matt Wolf
Audiences genuinely love Legally Blonde, and all but the most churlish of critics should crack plenty a smile, as well. A feel-good show that - unusually, in my experience - actually does leave you on a high, this stage adaptation of the 2001 Reese Witherspoon film benefits immeasurably from a rapturous star performance from Sheridan Smith as the unlikely heroine of Harvard Law School, Elle Woods. Throw in two terrific supporting turns from Alex Gaumond and Jill Halfpenny and a production that pushes for effect considerably less than it did on Broadway and you've got a Read more ...
theartsdesk
The morning after the day before has dawned. If you're not inclined to join the shopping queues, theartsdesk is happy to suggest alternatives. Our writers recommend all sorts of cultural things you could get up to in the next week.See Wicked. This smart, feisty show is not just for teenage girls (though heaven knows they’ll thank you for taking them) but will tweak at the imagination and tickle the funny bone of anyone who’s ever contemplated the back-story of The Wizard of Oz. Stephen Schwartz’s zingy score is one of the best to have come out of Broadway in the last decade and you really Read more ...
Matt Wolf
A funny thing happened to the movie musical of late: a genre thought to be moribund learned once again to sing, even if - as so often happens in education - there have been some truants along the way. In recent years, we've had Chicago and Hairspray, The Producers and Sweeney Todd, all of them adapted from Broadway shows familiar to UK playgoers as well. Now, along comes the riskiest of them all, Rob Marshall's Nine. And not for the first time, the last is best, though Nine is also likely to polarise reaction more sharply than any of these other titles have so far.The Read more ...
edward.seckerson
Edward Seckerson talks to actor/singer Nigel Richards about his new album A Shining Truth - a handsome compendium of 14 hitherto unrecorded musical theatre songs by major talents as Howard Goodall, Adam Guettel, Michael John LaChiusa, Conor Mitchell, Richard Taylor, and others no less significant. Musical Theatre aficionados will recall Nigel's unforgettable performance in the title role of Adam Guettel's masterpiece Floyd Collins at London's Bridewell Theatre and will know that few have done more to champion the cause of new writing than he has. This isn’t an album it’s a manifesto - and you Read more ...
Matt Wolf
What, you mean you didn't know that Annie Oakley, the American sharpshooter whose career hit its stride in the 1880s, was honoured by Winston Churchill but had no use for Adolf Hitler? Then you've been spending too little time in the ever-eccentric world of the maverick director Richard Jones, whose Young Vic revival of Annie Get Your Gun, the 1946 Broadway musical classic, is about as anti-Broadway as a staging can get.Purists will be enraged by a production that plays fast and loose with things like time period, setting, and anything resembling conventional casting. But take Jones's Read more ...
theartsdesk
Keith Pattison took photographs of Richard Jones's new production of Annie Get Your Gun for the Young Vic. Read Matt Wolf's review here.Click on a photograph to enter full view. [bg|/THEATRE/young_vic_annie] All photographs for the Young Vic by Keith Pattison.
Jane Horrocks (Annie Oakley); Julian Ovenden (Frank Butler)
Jane Horrocks (Annie Oakley); Julian Ovenden (Frank Butler)
Liza Sadovy (Dolly)
Buffy Davis (Mrs Potter Porter); Paul Iveson (Ensemble); Matt Turner (Ensemble); Julian Ovenden (Frank Butler); Adam Venus (Ensemble); David Ricardo-Pearce (Ensemble); Michael Taibi (Ensemble) Read more ...