In Tomorrow Creeps at The Vaults writer (and GOLEM! Theatre co-founder) David Fairs has drawn his text from 16 Shakespeare works (including the sonnets) as well as a sprinkling of Kate Bush magic.
On the one hand, that the VAULT Festival has expanded to over 300 shows running over eight weeks is fantastic news for the emerging theatremakers that it supports.
David Fairs flips comedy into tragedy with apparent ease – the fluidity of the text belies the time and effort taken to rework a Shakespearean script and give it a whole new angle. Puritans may argue that Shakespeare is not a playwright to be mess about with, but the care and respect Fairs gives to The Bard only further showcases his writing prowess.
As an original musical, not based on a book or a film, nor brought over from America to our side of the pond, Miss Nightingale is somewhat of an anomaly on the theatrical scene at present. It is a highly political piece, but not one that announces its own intentions.
What a great way to get the Bank Holiday weekend off with a swing. Last night, I hosted a post-show Q&A at MISS NIGHTINGALE. This original British musical is now in its sixth iteration – musicals, as Sondheim says, aren’t written but re-written – since starting life as a short piece in Ipswich and at […]
It’s fascinating to be able to revisit shows along their developmental cycle. I first saw Miss Nightingale in its initial chamber-musical incarnation at the King’s Head back in 2011 and since then, it has become a fully-fledged piece which has toured the UK extensively.
Miss Nightingale storms the stage to start the show just as it ends – with energy, enthusiasm and a patriotic desire to support the troops. Unfortunately, these kinds of scenes are often where Matthew Bugg loses his way slightly on the show, releasing his otherwise tightly held grip and clear conceptual realisation in favour of getting the audience on their feet, involved and dancing.