Fracked or Please Don’t Use The F-Word is written by Alistair Beaton and couldn’t be a more current piece in the current political climate. The fact that it has two more mature characters at the helm in strong roles is especially notable.
Marshall Brickman and Rick Elice’s book features a somewhat conventional love story, as daughter Wednesday wants to marry her more commonplace boyfriend Lucas Beineke. This involves enlisting the help of father Gomez, much to the chagrin of mother Morticia.
London is getting used to Ivo van Hove of Toneelgroep Amsterdam. But his tremendous A View from The Bridge (in a bleak arena) and his striking NT Hedda (in a bleak white room) were written as plays: whereas one of his great tastes as a director is adapting film screenplays.
In its depiction of two pawns caught up unwillingly in the machinations of the rich and powerful and its philosophical banter, Guards at the Taj reminds me a lot of Tom Stoppard‘s Rosencrantz and Guildenstern Are Dead.
Frank Wildhorn, Jack Murphy and Gregory Boyd have created a whole new take on this classic story bringing bang up to date with the musical Wonderland. In this version Alice is a 40-year-old single mum having the worst birthday of her life.
This version from Chocolate Factory Productions returns to the original – with some updates – and is now touring after an acclaimed West End run. Much of the publicity has centred on Sheridan Smith in the central role, and she surely deserves all of the praise that continues to come her way.
In the wake of the political chaos of Brexit and the overhanging general election, My Country; a work in progress offered an insightful look at the divided opinions of our society. Unfortunately, it failed to deliver.