White Christmas is an all-singing, all-dancing festive treat, full of showbiz razzmatazz and a little bit of romance thrown in for good measure – though with the memories of war lurking in the background, there is a dark edge that offsets the Technicolor world of the 1950s.
A joy from start to finish, White Christmas is a real treat that you will not want to miss out on.
The embodiment of glamour from start to finish, White Christmas whisks you away and takes you to a wintery wonderland where lullabies and tap dances reign supreme.
Before long the stage is overflowing with so much joy, romance and goodwill to all that ultimately, much like the snow song, this White Christmas proves impossible to resist.
Amelie is a slick, clever and hugely appealing production which reveals the heart of the original in a way which the initial Broadway production did not, if the clips of the latter are to be believed.
Amelie The Musical oozes Gallic charm from Daniel Messé’s evocative music to the enchanting performance of its luminous star, Audrey Brisson.
As sweet-sharp as a diabolo grenadine, Amélie the Musical has lost none of its inimitable charm as it gears up for a considerable UK tour.
The cult French film Amélie has been on a long journey to get to the UK and it’s finally set down here for a shortbread-box-sweet tour which captures the whimsy and delight of the film wonderfully.
A sensational adaptation of the film, Amélie the Musical completely captures my heart – see it now at the Watermill Theatre and then touring across the UK.
Made at Curve production of Irving Berlin’s White Christmas will transfer to London’s Dominion Theatre from 15 November 2019 to 4 January 2020, with a press night on 25 November.
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.
With White Christmas, Curve has yet again produced a classy production filled with yuletide magic and enough fluffy escapism to warm hearts on these cold winter nights.
After the recent success in the UK of Big Fish and The Addams Family, Andrew Lippa’s lesser-known show A Little Princess has had its UK premiere at the Southbank Centre.
A packed house at the New Wimbledon Theatre rose as one to salute Ria Jones’ bow at the close of Sunset Boulevard and with good reason. Jones remains magnificent, her definitive, decaying diva capturing Norma Desmond’s long-faded Hollywood majesty.
Sheridan Smith and Danny Mac were among the winners at the Manchester Theatre Awards – which were announced at The Lowry Theatre in Salford, while HOME led the way with five awards for its productions and performers. The annual awards – regarded as the most important theatrical prize-giving outside London – honour productions seen in Greater Manchester during 2017. Janet …
Ria Jones dazzles in the poignant, wonderfully melodramatic and tragic Sunset Boulevard that is both a love letter to movies and a eulogy to Hollywood’s silent era.
The musical, based on the 1950 Billy Wilder film, with music composed by Andrew Lloyd Webber, depicts the close-knit working relationship that both characters form, and the dire consequences that manifest from their alliance with each other.
Sunset Boulevard is a thrilling ride through the film industry of mid-century America, filled with the song, dance and cultural ephemera of the era. It’s an intoxicating spectacle that is both entrancing and, in parts, exhausting.
There is no doubt that Ria Jones, as Norma Desmond, owns the Curve theatre’s production of Sunset Boulevard that lights into the Edinburgh Playhouse on the first date of its major UK tour.
Ria Jones’ extraordinary history with Sunset Boulevard might well be entitled The Norma Conquests… And, 26 years on, was it worth the wait?
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