British theatre’s amour fou for Florian Zeller continues apace with another of his comedies making it over to London but are we approaching diminishing returns as we delve deeper into his back catalogue?
First things first, the foyer is extremely spacious and rather beautifully lit. So whilst there were hefty queues at the box office and the bar, there was still plenty of room to mill about, some seats available and a wide enough staircase that, when we finally started going down to the stalls, it wasn’t too much of a crush.
The blurb for Graeme of Thrones mentions it could be seen as “an introduction for the unenlightened” but let’s be frank, to expect a rapid-fire comedy show to catch you up on seven seasons of intricately plotted fantasy drama and enable you to get such puns as the one above is to make you as naive as, well, Ned Stark.
It’s alive…barely. Mel Brooks’ Young Frankenstein staggers into the West End after some more time on the operating table since its 2007 Broadway opening. But for a piece of new musical theatre, it is so desperately old-fashioned that you half expect Russ Abbot and Bella Emberg to pop up and do a turn.
Though often cited as one of the titans of new musical theatre writing, I think it is fair to say that Jason Robert Brown has never managed to nail a proper commercial hit on Broadway. Despite the critical acclaim and cult status that has built up around shows like Parade and The Last Five Years, the Great White Way has resisted his charms.