Burnt Lemon Theatre’s Tokyo Rose shows that you don’t need a big budget to stage a compelling musical.
Ought To Be Clowns barely saw 250 shows this year, quiet by his standards. And as is the way of these things, here’s a rundown of some of the productions that moved me most…
No doubt about it, Nikolai Foster’s production of West Side Story for Curve Leicester is damn close to musical theatre perfection.
With Berlin’s classic numbers and in the gifted creative hands of director Nikolai Foster and his choreographer Stephen Mear, White Christmas becomes a fabulous feel-good delight.
Much of my ‘touring’ has been concentrated in Bristol and Chichester; there are a few other UK venues to add to the list, as well as some from my week in New York, of course.
It all makes for classic festive fayre with Leslie Bricusse’s original work, last seen some 15 years ago, being subtly re-engineered for this revival. Jasper Britton heads the cast in the title role, convincing us throughout of the miserly Ebenezer Scrooge.
There is a magic that pervades Nikolai Foster’s production of Sunset Boulevard, and it flows from leading lady Ria Jones. Twenty-six years after creating the role of Norma Desmond for Andrew Lloyd Webber at the composer’s Sydmonton Festival, Jones now leads the show and never has a casting been more perfect.
Roald Dahl’s wonderful and vibrant stories have captured the imaginations of millions of children (and adults) across the world. Translated into 58 different languages, Dahl’s rich and impressive portfolio has been successfully adapted for stage and screen over the years. The Witches has always been a favourite in our house, fascinating, terrifying and always prompting curious questions, and it translates perfectly to the stage in this adaptation by David Wood.
The Christmas decorations may be taken down – but at Leicester’s Curve the seasonal family show has another two weeks to run and judging by Friday’s packed, cheering audience it is continuing to bring much festive joy to the city.