In a feature for The Stage earlier in the week, Jessica Korvavos, president of Andrew Lloyd Webber’s Really Useful Group, was asked to sum up the last year: “A year when singing and dancing in public have been against the law? It’s been like a horrible dystopian cross between Footloose and Groundhog Day.”
Anne-Marie Duff returns to the Almeida Theatre to star in the world premiere of Beth Steel’s new play The House of Shades. Full casting for the theatre’s UK premiere of Daddy is also announced.
Acting honours go to Andrew Scott & Maggie Smith at the 2019 Evening Standard Theatre Awards while Sweat wins Best Play.
Debbie Kurup chatted to Emma Clarendon about starring in The Best of… Rock Musicals and the Donmar Warehouse production of Sweet Charity.
Sweet Charity, Josie Rourke’s farewell production at the Donmar Warehouse which stars Anne-Marie Duff as Charity and Arthur Darvill as Oscar, appears to have charmed the majority of our Mates, with a few reservations here and there. The musical continues until 8 June 2019.
‘A sweet sexy fairy tale’ is how one critic described Sweet Charity on its opening in London in October 1967. And Josie Rourke’s final production as the Donmar’s artistic director before handing over to Michael Longhurst certainly lives up to that description, but also makes it something rather more and darker because of the unlikely casting of Anne-Marie Duff as Charity.
This is as unconventional production of Sweet Charity as you’re likely to see. Set firmly in the art milieu of Andy Warhol’s Factory, it’s so perfectly, silver-foil-wrapped acid-tabbed 1967 it’s like you were actually there.
Love London Love Culture rounds up the reviews for Josie Rourke’s final production at the Donmar Warehouse, Sweet Charity.
The minute you walk in the joint (Hey, big spender!), the trumpets and sax blare an impertinent welcome and you’re in the right dive for Sweet Charity.
Director Josie Rourke ends her tenure at the Donmar Warehouse with a hip revival of Sweet Charity that pushes Anne-Marie Duff out of her comfort zone and shows a new side to Adrian Lester.
Nowhere near enough charm in this Sweet Charity for my liking. Josie Rourke’s farewell to the Donmar Warehouse is grey rather than silver.
Multiple guest actors will play the role of Daddy Brubeck in Josie Rourke’s production of Sweet Charity at the Donmar Warehouse including Shaq Taylor, Adrian Lester, Le Gateau Chocolat, Beverley Knight and Clive Rowe with further casting to be announced.
The Donmar Warehouse has announced further casting for artistic director Josie Rourke’s farewell production Sweet Charity. Joining previously announced cast members Anne-Marie Duff as Charity and Arthur Darvill as Oscar will be Lizzy Connolly, Lauren Drew, Jo Eaton-Kent, Will Haswell, Charlotte Jaconelli, Stephen Kennedy, Debbie Kurup, Martin Marquez, Ryan Reid, Amy Ellen Richardson, Danielle Steers and Shaq Taylor. The musical will run from 6 April to 8 June 2019 (press night is 17 April).
Anne-Marie Duff will lead the cast in Donmar Warehouse’s artistic director Josie Rourke’s farewell production, Sweet Charity, opposite Arthur Darvill making his Donmar Warehouse debut as Oscar. The musical will run from 6 April to 8 June 2019 (press night is 17 April).
Macbeth at the National Theatre is a dystopian look at one of Shakespeare’s most well-known plays, ushering in a new dark age in the aftermath of civil war – Anne-Marie Duff and Nicholas Karimi truly lead the way with compelling performances.
Rory Kinnear and Anne-Marie Duff star as the Macbeths in this new production directed by Rufus Norris at the National Theatre until 23 June. But what have the critics had to say about it?
If you’re a Shakespeare fan then there’s no reason why you shouldn’t go and judge Rufus Norris’ Macbeth for yourself, but if not then I wouldn’t rush along, as I don’t think this is the production to make you a fan.
So, I’m sorry to say that the starry Olivier-platformed NT production of Macbeth is a dull disappointment. For me, I couldn’t find a single element that worked.
A whole lot of post-apocalyptic hurly-burly and sadly not much more besides – the National Theatre’s Macbeth really is something of a red-trousered disappointment.
Yet somehow, I’m not quite buying it. We are used to gore and nasty things hung on trees and lots beheadings, ever since the technology for reproducing actors’ heads improved. Fine. But unlike the Hytner Othello – set in a modern army camp – or his Hamlet in a recognizable police-state, the misery-world evoked here gives no sense that there ever were nobilities to be breached by the Macbeths. It’s just chaos, and you expect no better.