I can’t believe that Amour has posted early closing notices at Charing Cross Theatre. This beautiful production now must finish on Saturday 8 June 2019. So please watch and share this post-show Q&A video – and then book to see the show – ASAP!
Musically, Amour soars and Michel Legrand’s score is in good hands with the brilliant band and musical director Jordan Li-Smith.
Amour, a whimsical tale of a Parisian clerk who finds himself temporarily gifted with a superhuman ability to walk through walls, lends itself perfectly to London’s Off West End theatre scene.
Michel Legrand’s quirky but charming musical Amour makes a vivid impression in this UK professional premiere.
Amour is a sweet and bittersweet story which is delicately handled by director Hannah Chissick. The concept of is intriguing and mystical, and the style of the music is chocolate box sweet.
Here’s Love London Love Culture’s guide to some of the best theatre openings in May.
As part of her ongoing post-show Q&A series, on Monday 13 May 2019, Mates co-founder Terri Paddock talks to the director and cast of the late Michel Legrand’s five-time Tony Award-nominated Amour. Got any questions?
AMOUR, the late Michel Legrand’s five-time Tony-nominated musical fantasy about daring to dream and the power of self-belief, runs at the Charing Cross Theatre from 2 May to 20 July 2019, with a press night on 8 May. Full casting has been announced.
Best Supporting Actor in a PlayPeter Polycarpou, Scenes from 68* YearsIn the midst of a heartbreaking play (by Hannah Khalil), Polycarpou’s contributions to the multi-stranded narrative were more heartbreaking than most – agonisingly, beautifully evoki…
“You can never go back to before”… Mother may spend a song telling us that we can never go ‘Back To Before’ but fortunately you can go back to Ragtime with no fear.
Ragtime – Charing Cross Theatre Until 10th December
“Simply an Unmissable Triumphant Revival”
You begin to run out of superlatives when it comes to Thom Southerland and Danielle Tarento’s touch with small scale musicals. Having seen three of their previous ones at Southwark Playhouse, it should comes as no surprise that even though they’ve now shifted over to the Charing Cross Theatre, the same spirit of élan and bravura staging in confined spaces continues unabated.
In many ways, Ragtime is about the development of the modern American nation and identifies three key groups instrumental in that societal change in women, African-Americans and immigrant communities, the very people Trump has done his damnedest to alienate.
Yet again director Thom Southerland has assembled a virtually flawless cast and crew in his revival of Ragtime, a show that is probably Flaherty and Ahrens’ finest collaboration.
This instalment of my theatregoing recommendations could be called not just my musicals diary but my musicals-on-my-doorstep diary. All three shows – Children of Eden, Allegro and Groundhog Day – are playing at what I consider neighbourhood theatres, within five to ten minutes’ walk of my front door.
A RARITY, AND A TOPICAL TREAT… It’s an American story and a universal one: choose money and status, or idealistic service? Big business or big heart, slick city or smalltown values? Or, if you must, Trump or Hillary? All the way from Louisa May Alcott to It’s a Wonderful Life, the old tension has provided drama.
The first thing to say here is that yet again the producer/director collaboration of Danielle Tarento and Thom Southerland has come up with a beautiful show, full of charm, of energy and of near perfection by the committed cast in the singing and dancing. And not in any formulaic way – Lee Proud’s original, urgent […]
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Earl Carpenter, who starred in the West End and on Broadway as The Phantom in The Phantom of the Opera and Inspector Javert in Les Miserables, and West End star Anita Louise Combe, Tessie Tura in Gypsy at the Savoy Theatre and both Roxie Hart and Velma Kelly in Chicago, are to head the cast of a major new actor-musician production of RAGTIME.
Allegro is the third musical born from the long standing genius that is the duo of Rodgers and Hammerstein. While neither their most successful piece, nor their most daring and despite it being a somewhat lacklustre story, Allegro still holds all of the charm and sophistication associated with R&H musicals.
So why haven’t many Rodgers and Hammerstein aficionados heard about it and why has this never been performed in the UK? Is this forgotten musical best placed as just that or have we been missing an absolute gem?
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