Occasionally bewildering and frequently ridiculous, Strike Up The Band is nevertheless always great fun.
It’s opening night at London’s highest theatre – Highgate’s Upstairs at the Gatehouse – where the original 1927 version of Gershwin musical Strike Up The Band is now receiving a rare production til 31 March 2019. Check out our first-look gallery of production photography – and then get booking!
More than ninety years after it was first seen, the original version of Gershwin musical Strike Up The Band gets its London debut next week at Upstairs at the Gatehouse. Get a sneak peek behind the scenes with our rehearsal photograph and this great feature with director Mark Giesser. Time to get booking!
Casting has been announced for director Mark Giesser’s production of George and Ira Gershwin’s madcap musical hidden gem Strike Up The Band which runs at London’s Upstairs at the Gatehouse from 6 to 31 March 2019 (press night is 8 March).
English National Opera celebrates 50 years at the Coliseum with a grandstanding production of Porgy & Bess, the first in its history.
In their latest touring production, Ken Ludwig’s musical comedy, Crazy For You, Paul Hart and the Watermill Theatre have enhanced a much-loved classic with flights of fanciful footwork and an electric cast of actor-musicians.
There’s a lot to enjoy in this production of Crazy for You which brings a great deal of talent to the stage and shows it off well. It’s just that it gets caught up in the fiddly bits of the story when bigger, bolder strokes could serve the plot better.
Any number of shows could have been included in this post; frankly it’s ludicrous that I decided to stick with my whole top 12 idea… As I’ve seen about 90 more individual shows than last year.
The Watermill has cast the show perfectly, with Tom Chambers and Caroline Sheen leading the Crazy For You company.
All credit to Elliot Davis, Senbla and the genius of casting director Anne Vosser too, for assembling such a platinum plated cast to perform the little known Of Thee I Sing. But whilst this one-night-only’s company was majestic, the show itself plumbs the crassest depths of jingoistic prejudice, sexism and febrile farce. Quite how it won the 1932 Pulitzer Prize (the first musical ever to do so) beggars belief.
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