To be honest, if it’s an evening of laugh-yourself-silly fun, catchy tunes, inspired lunacy and bona fide triple threat star turn performances that you’re after, it doesn’t get much better than Shucked at the Nederlander Theatre, New York.
“They Call Me, “Woman!’’ (written by Ayo Jaiyesimi and presented by Thespian Family Theatre & Productions, Nigeria) is a set of five monologues spotlighting some of the issues confronting the African woman. Whilst there’s strong advocacy for gender recognition, equality and equity all over the world, the struggles of African women, educated or illiterate, young, or old, modern, or traditional, need to be felt in order to be understood. This is our spotlight.”
The abundant musical and artistic quality impresses again as Melbourne Opera presents Siegfried, third instalment in their mighty Bendigo Ring Cycle. Seen last September in concert, Siegfried comes to rich dramatic life in its fully staged production. Led by sturdy heldentenor Bradley Daley in the title role, the opera begins gradually with domestic drama before surging on to dragon slaying, a helpful singing bird, and the romantic rescue of Brünnhilde.
Love London Love Culture’s Emma Clarendon take a look at what is being said about the new revival of Stephen Sondheim’s musical starring Josh Groban and Annaleigh Ashford.
Andrew Lloyd Webber’s musical Bad Cinderella has now officially opened on Broadway, Love London Love Culture’s Emma Clarendon finds out what critics have had to say about it…
A breathless, rollicking rush of a feel good musical comedy, & Juliet makes its Australian premiere in killer form, with a peak Australian cast of fantabulous powerhouse artists.
Spiffingly produced and splendidly acted, Agatha Christie’s evergreen whodunit The Mousetrap keeps audiences ever in its thrall. The scarcity of touring productions of plays makes this season even more of a treasure. Lovers of the murder mystery genre will find plenty to enjoy.
Hitting the ground running in Florida, Sam McGowan has been in the USA a mere ten months and already has made a huge impression within the entertainment industry, getting himself involved in various creative projects and showcasing his talent and experience right from the moment he landed in March of 2022. Hailing from Bournemouth, McGowan began his American dream by joining forces with …
Thoroughly disproving the law of diminishing returns, Mary Poppins soars again as the current Australian revival tour brings everyone’s favourite nanny back to her spiritual home at Her Majesty’s Theatre, Melbourne.
Another constant for over 40 years was Al Hirschfeld, whose highly distinctive line drawing caricatures of Broadway accompanied the New York Times reviews of new openings. No one elevated the simple line drawing embodiment of Broadway to an art form in its own right quite as he did.
AIN’T NO MO’ by Jordan E Cooper Directed by Stevie Walker-Webb Belasco Theatre, New York City – until 26 February 2023 https://aintnomobway.com All aboard the final flight of African American Airlines, a journey taking every last Black American, tired and pissed off from being sidelined, passed over, disappointed, hurt, viewed with suspicion and just plain […]
No doubt about it, Lea Michele is the Greatest Star, singlehandedly salvaging a train wreck of a revival and tuning it into a white hot hit. Not seen on Broadway since its original 1964 production, Funny Girl returns with a redesign of the 2016 London production, retaining direction by Michael Mayer and updates to Isobel Lennart’s original book by show-doctor Harvey Fierstein.
Musical theatre’s new guilty pleasure, & Juliet is an accelerated endorphin rush that leaves the cheering crowd on a giddy high. A jukebox musical so in touch with its identity that it literally starts with a jukebox on the stage, & Juliet corrals more than two dozen of 100-plus hits of mega successful songwriter Max Martin into a sassy, sexy musical comedy.
Thrillingly balancing dangerous drama and rapturous romance, John Cranko’s Romeo and Juliet enthrals once again in this grandly staged, meticulously recreated hallmark production from The Australian Ballet.
The unique energy and passion of Come From Away are destined to be remembered for years; at this point it feels hard to believe that another show will usurp its special place any time soon. Lovers of musical theatre who are yet to experience Come From Away are strongly encouraged to take this final chance to see the show, and those who have already been will need little encouragement to return.
Timeless to Me, Hairspray shakes and shimmies once again, the sheer quality of the show itself shining through just as radiantly at 20 years old. Winner of seven 2003 Tony Awards including Best Musical, Hairspray encapsulates the very essence of what makes Broadway such a joy in our lives.
Bubbly, bold and brassy, 9 to 5 the Musical is a well-timed wallop of feel-good fare. Proving an ideal fit for a cinema-to-stage adaptation, hit 1980 movie 9 to 5 provides three leading ladies for the price of one, not to mention the scope, fully realised, for an all-singing, all-dancing set of stenographers and executives. Hailing from Broadway in 2009, 9 to 5 the Musical soared to new life in a restaged production for London’s West End in 2019, its hearty feminist power amplified again for a new generation.
Given its fringe origins, Six is an ideal fit for Melbourne’s Comedy Theatre, flooding the relatively intimate space with throbbing music and rock stadium lighting. The heady combination of mega-talented cast, glittering production and fabulous material conjures an irresistibly electric atmosphere, grabbing the audience by the lapels and not letting go for the breathlessly brisk 75-minute running time.
A jewel-toned joy, Rodgers and Hammerstein’s Cinderella transports audiences back to the magic of Broadway’s Golden Age, when an evening of musical theatre meant a magical discovery of new and wondrous work.
A wild ride back to the heady, pre-woke 1990s, Cruel Intentions the ‘90s Musical is a salacious guilty pleasure that has all the makings of a cult classic.