Fun Home exceeds all expectations. It’s one of those productions where everything – book, music, performance, design – comes together in perfect harmony and by the final notes you know you’ve witnessed something sublime.
At last, the Young Vic has come of age. Fun Home marks one of the best productions it has housed and breaks new ground for musical theatre.
It’s fitting that Fun Home should open in Pride month, not least because it is an all-too-rare show that focuses on the L in LGBT+. But as stirring and gratifying and significant as it is to have a lesbian protagonist, this musical works because it is straight-up fantastic.
It’s an amazing time for diversity of style in “musicals” on both sides of the pond. Hamilton’s hip-hop, street poetry, storytelling, David Yazbek’s middle-eastern infused charmer The Band’s Visit, Jeanine Tesori’s Fun Home (newly arrived at London’s Young Vic while her dazzlingly original Caroline Or Change plays at the Playhouse Theatre).
Filled with plenty of laughter and fun, it is safe to say the audience left the theatre with a spring in their step and a smile on their face thanks to Shrek and his loveable fairytale companions.
Casting has been announced for Jeanine Tesori and Lisa Kron’s five-time Tony Award-winning musical Fun Home, playing at the Young Vic’s main house from 18 June to 1 September 2018 (press night is 27 June 2018). The line-up features Kaisa Hammarlund as Alison; Eleanor Kane as Medium Alison; Jenna Russell as Helen; Ashley Samuels as Roy, Mark and Jeremy; Cherrelle Skeete as Joan and Zubin Varla as Bruce, Alison’s father.
Olivier Award-winning actress Sharon D. Clarke will reprise her much acclaimed performance in the title role of the current production of Caroline, or Change when the musical transfers to the West End this autumn.
Hampstead Theatre has announced the full company for Tony Kushner’s and Jeanine Tesori’s musical Caroline, or Change, following its critically acclaimed run at Chichester Festival Theatre last summer.
Big, bright and brash, there are plenty of laughs in the new touring production of Shrek the Musical, which is debuting at the Playhouse until the first week of the new year.
Hampstead Theatre has announced its first two productions for 2018: the UK premiere of Sarah Burgess’ “high finance comedy” Dry Powder and the Chichester Festival transfer of Tony Kushner’s and Jeanine Tesori’s celebrated musical Caroline, or Change, with Sharon D Clarke reprising her title role,
Five-time Tony Award-winning Broadway musical Fun Home, based on the celebrated 2006 graphic novel by Alison Bechdel, will get its much-anticipated UK premiere at the Young Vic in the new year, as part of the final season programmed by outgoing artistic director David Lan. The musical’s original New York director Sam Gold will make his Young Vic debut helming the London …
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.
Rarely does a new musical emerge from a book that is as heartfelt as Fun Home’s and yet fails on stage to either inspire or deliver.
As the Shrek UK tour draws to a close, it was fun to catch up with the show’s final week at Manchester’s Lowry Theatre. Long long ago, before Shrek became a stage musical, it was an award winning DreamWorks movie that stole the hearts of adults and children alike. Upon its release in 2001, Shrek won the first ever Academy award for Best Animated Feature, as well as receiving countless nominations at the BAFTAs and Golden Globes.
As someone raised on West End musicals, I’ve grown used to grand spectacles, produced on a huge scale and a big budget, with lavish sets and an army of stage crew. It never would have occurred to me that you could present a show of that kind in a fringe theatre, with a cast of twelve and a band of five. Yet Thoroughly Modern Millie, at the tiny and intimate Landor Theatre, does just that – and is easily as entertaining as any of those big productions.
The twenties don’t so much roar as whimper in SDWC’s new revival of Thoroughly Modern Millie at the Landor. Matthew Iliffe’s production strips back not only the set and cast, but also the life and soul of the show, leaving us with a raw and undercooked slog of questionable casting and dull direction.
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