We can finally go to the ball, and Andrew Lloyd Webber’s Cinderella was well worth the wait. Emerald Fennell’s treatment of the fairy tale frames Cinderella as a social outcast in a town obsessed with beauty.
The Really Useful Group has announced, after a period of enforced closure, the world premiere of Andrew Lloyd Webber’s Cinderella will be on 25 August 2021.
Following the cancellation of weekend performances of Andrew Lloyd Webber’s Cinderella at London’s Gillian Lynne Theatre, due to one member of the company testing positive for Covid-19, the composer has announced today that the opening night and gala evenings (19 and 20 July 2021) will also not go ahead.
The full cast has been announced for the forthcoming world premiere production of Andrew Lloyd Webber’s Cinderella, featuring music by Lloyd Webber, book by Academy Award-winning Emerald Fennell and lyrics from David Zippel.
Chiaroscuro is a relevant, moving production, addressing issues of sexuality and identity & focusing on characters that are often left out of theatrical narratives. It is a vital and vibrant contribution to contemporary theatre.
Chiaroscuro succeeds as a celebration of how the lives of different black women are thriving, whatever their sexuality.
Lively gig theatre revival of Jackie Kay’s Chiaroscuroa, a 1980s account of the black lesbian experience doesn’t quite work.
Lynette Linton brings together this story in a beautiful and explosive manner through her direction of Chiaroscuro.
I try out the new smart caption glasses while watching Hadestown at the National Theatre and am blown away both by the show and the frankly amazing technology.
Folky, emotive, excellently performed and ever relevant, the National Theatre’s production of Hadestown is a grand triumph.
Now the National Theatre has a vibrant production of the musical Hadestown which premiered at the New York Theatre Workshop in 2016.
The National Theatre has announced that Amber Gray and Patrick Page will reprise their original New York Theatre Workshop roles of Persephone and Hades in Hadestown, running in rep at the Olivier Theatre from 2 November 2018 to 26 January 2019 (press night is 13 November).
The Lowry’s Week 53 festival continues with this new adaptation of Brighton Rock. The festival theme of ‘coming of age’ seems to have been stretched pretty far in the search for content, but that doesn’t necessarily stand in the way of a good night of theatre.
For a fast-paced and thought-provoking evening at the theatre which simultaneously offers very real, believable insight into gangster life, Brighton Rock has it all.
This production of Brighton Rock has a striking physicality to it, utterly eyecatching but careful not to overly glamourise this noirish world.
The beautifully fast, fluid staging moves of Brighton Rock combine with a loving creation of that dark 1950s seaside underworld complete. And the two young principals are more than worth seeing.
The main reason for traveling to Birmingham Rep for The Hundred and One Dalmatians was to see Cruella De Vil played by Gloria Onitiri, an actress who I’ve enjoyed following since the Avenue Q days more than a decade ago.
101 Dalmatians – no easy feat for a stage production, one might imagine, getting all those dalmatians up on stage in one go with no unruly canine behaviour, etc. What’s the answer? Use puppets of course, reminiscent of War Horse – and it works fantastically well.
Well Daniel Evans looks set to be continuing one of Chichester Festival Theatre’s longstanding traditions, of producing musical theatre that tempts the cognoscenti over to West Sussex in droves and which leads calls for West End transfers as soon as the curtain falls (if they had curtains in Chichester that is…).
Further casting has been announced for the opening productions of Chichester Festival Theatre’s 2017 season, FORTY YEARS ON and CAROLINE, OR CHANGE.
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