Lots of different things opening across the country in March. In London there are a lot of Fringe and Off West End productions coming your way.
Rock musical Myth: The Rise and Fall of Orpheus will have nine concert-style workshop performances at The Other Palace, London from 10 to 17 March 2018.
I’ve personally seen 74 productions this year including some repeat visits, so how do I then pick just ten shows for a top 10?
New musical 27, written by Sam Cassidy and Matt Wills and directed by Arlene Phillips, follows the story of Orpheus, a rock star whose experiences of fame lead him down a path of self-destruction. It runs until 22 October 2016. But how has it gone down with critics?
The premise behind 27 is both noble and tragic. Kurt Cobain, Amy Winehouse, Jim Morrison and Janis Joplin all died at that age and Sam Cassidy’s musical seeks to explore some possible greater satanic force that robs the world of gifted talent at such a tender age.
Sometimes when you review something, an instinct kicks in, is it going to be a marmite show? You either love it or hate it. So which side of the fence did I sit on with 27?
The bank holiday is behind us and it’s goodbye to summer. The consolation is a jam-packed autumn theatre season. Here are a few of the most notable London openings this month that you should keep an eye out for…
World renowned director/choreographer Arlene Phillips is to direct the world premiere of 27, an intoxicating new British rock musical. It will run from Thursday 8 September to Saturday 22 October 2016 in a six-week season at London’s 170-seat Cockpit Theatre in Marylebone.
Brian Jones. Jimi Hendrix. Amy Winehouse. Janis Joplin. Jim Morrison. Kurt Cobain. Peter McMaster? No, he didn’t join the “27 Club” but he celebrates the risks and excesses of the age that took so many legends. With co-performer Nick Anderson, they relay personal milestones from birth through the near future amongst displays of risk taking, celebration and sensual interaction with the audience and each other. This encroaching on personal space and copious amounts of dust creates a boundary-less, intimate world with surprising additions of pain and violence – an excellent depiction of the living life on the edge.