The West End hits central Edinburgh this week, as Cole Porter’s seaborne musical Anything Goes sails into the Festival Theatre for a very limited run until this Sunday.
Broadway star Rachel York and Tony and Olivier nominee Haydn Gwynne will join the cast of critically-acclaimed Anything Goes for the final weeks before the show must end on 6 November 2021.
Anything Goes will open at London’s Barbican Theatre from 23 July 2021 for a strictly limited 12-week season until 17 October.
I have loved both book and film of The Color Purple for as long as I can remember. Alice Walker’s novel of strong black females in an America which sees them as not just second-class citizens, but non-entities, is a seminal text in both feminist and LGBTQIA+ literature.
Following on from the immensely successful Sunset Boulevard in Concert, Curve has reunited the company of 2019’s The Color Purple (a co-production with Birmingham Hippodrome) to once again bring a much needed dose of musical enrichment to theatre lovers worldwide.
Nikolai Foster and co. have wrung West Side Story for every last drop of emotion, intellect and topicality. It has been given the full blooded revival it merits and I would love to see this production have further life beyond this initial run.
No doubt about it, Nikolai Foster’s production of West Side Story for Curve Leicester is damn close to musical theatre perfection.
I had just enough time to wipe away my tears – I was sobbing – at the end of The View Upstairs before jumping up after the curtain call to announce this post-show Q&A at Soho Theatre.
The View Upstairs at the Soho Theatre was reminded me just how transformative theatre can be.
Jonathan O’Boyle has directed a moving production of The View Upstairs which feels like an homage to those fighting for gay rights in the past, those fighting now and those who are yet to realise they need to fight.
Max Vernon’s musical The View UpStairs making its European debut at the Soho Theatre and running for just five weeks, commemorates the 1973 arson attack on a gay bar in New Orleans which was the most significant event of its kind until 2016’s Florida shootings.
First time director Tyrone Huntley and choreographer Oti Mabuse have created a sizzling revival of Ain’t Misbehavin’ which is electrifying audiences at London’s Southwark Playhouse.
While there might not be any central plot, sit back and enjoy the music and dancing anyway in this fun and energetic production of Ain’t Misbehavin’.
Tyrone Huntley makes his directorial debut with this vivacious production of Ain’t Misbehavin’ that hasn’t been seen in London for almost 25 years. With Oti Mabuse’s choreography, the show is a whirlwind of energy which excites and entertains throughout.
Tamasha’s romp through the great Fats Waller’s songbook in Ain’t Misbehavin’ is a two-hour treat, with a reeling, rocking cast of five and a joyful five-piece combo.
I try out the new smart caption glasses while watching Hadestown at the National Theatre and am blown away both by the show and the frankly amazing technology.
Folky, emotive, excellently performed and ever relevant, the National Theatre’s production of Hadestown is a grand triumph.
Now the National Theatre has a vibrant production of the musical Hadestown which premiered at the New York Theatre Workshop in 2016.
As Bill Buckhurst’s production of Sweet Charity takes the show squarely back to its 1960s origins with Rebecca Trehearn in the lead, the show delivers an exhilarating if somewhat brutal comment on humanity that proves disarmingly timeless.
The National Theatre has announced that Amber Gray and Patrick Page will reprise their original New York Theatre Workshop roles of Persephone and Hades in Hadestown, running in rep at the Olivier Theatre from 2 November 2018 to 26 January 2019 (press night is 13 November).
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