Mischief Movie Night is enormous fun and the cast clearly loves what they do. The sense of kinship is refreshing and invigorating as we giggle alongside the actors on stage at the absurdity of what we are asking of them.
Mates blogger: Not Exactly Billington
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Polly Stenham has updated August Strindberg’s 1888 play Miss Julie to contemporary London. Why? Well, it would be foolish to think that this new version is modern only because of its language, setting and clothes.
In their latest touring production, Ken Ludwig’s musical comedy, Crazy For You, Paul Hart and the Watermill Theatre have enhanced a much-loved classic with flights of fanciful footwork and an electric cast of actor-musicians.
I was thrilled that a new generation (myself included) could get an opportunity to see the play and experience a plethora of luscious characters that are frightened of their selves as much as they are of the war. It’s a shame, then, that Joe Hill-Gibbins’ production is rather unfocused and has left me with the impression that the play is not as good as I initially thought.
Gérald Garutti’s production of Molière’s Tartuffe hasn’t convinced me that it’s the finest play in the French canon. Yet, for its sexy design, its novelty, and its ambition, it is oddly enjoyable.
Now, Soho Theatre and DryWrite (the latter of which is run by Phoebe Waller-Bridge and Vicky Jones) are taking Fleabag on the road again, handing down the performing reins to Maddie Rice.
Here, Agatha Christie’s and Frank Vosper’s 1936 play is in the assured hands of Lucy Bailey in a production for the Royal & Derngate. Where the play flounders, the production remains enjoyable, stylish, and – surprisingly – manages to avoid the absurd.
In summary, stage adaptations of films should be justified by bringing something new to a well-known story, and Strictly Ballroom misses the mark on this point.
This new musical adaptation of An Officer and a Gentleman, receiving its world premiere at Curve, makes no apologies for embracing the melodrama of the movie. In doing so, it delivers a polished, unabashed production
Robert Hastie once said that the director’s role is “to provide the clearest conduit between a writer and an actor”. Such an approach, effectively of getting in the way as little as possible, perfectly suits the prosaic dialogue of Peter Gill’s 2001 play The York Realist.
While Puig’s masterpiece Kiss of the Spider Woman doesn’t quite work when fleshed into a physical entity, I am reminded of the unique and all-conquering power of the human imagination, and I am forever thankful that stories such as this are produced and continue to make people think, feel and dream.
Matilda is THE family musical of this generation and a must-see for musical theatre aficionados for Minchin’s score alone. The fun and mischief are infectious and I can’t remember the last time I smiled this much at the theatre.
As well as being a damn clever meditation on the creative process, the writing in The Inheritance is also emotionally searing, nuanced and consistent, never glib or rushed.
Has there ever been a more hotly anticipated new musical? A rhapsodic biography of America’s ‘forgotten’ founding father, Hamilton has whipped up a hurricane (pardon the pun) of frenzy, speculation, and, nay-sayers would argue, hyperbole which has swept the world to become a truly global phenomenon.
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