Taron Egerton, Jonathan Bailey, Jade Anouka and Phil Daniels will star in C O C K, the first West End production of Mike Bartlett’s Olivier Award-winning play about love and identity.
Mark Shenton reflects on the careers of two young gay actors, the late Marcus D’Amico and Jonathan Bailey (recently seen in Bridgerton), & their different experiences of the arts industry in different eras.
We should celebrate the fact that within the space of a year London has played host to stagings of not one but two Sondheim masterpieces that have all but redefined them in theatrical terms: Company and Follies.
Come From Away, Company and The Inheritance led the way with four awards each at the Olivier Awards 2019 with Mastercard, announced at a ceremony tonight (Sunday 7 April) at London’s Royal Albert Hall, hosted by Jason Manford.
Just the one more trip to see the glorious Company at the Gielgud Theatre before it sadly departs. Marianne Elliott’s multi Critics Circle Award-winning and Olivier-nominated revival of Stephen Sondheim’s modern classic must finish tonight (30 March 2019).
Musicals Company and Come From Away top the Olivier Awards 2019 nominations with nine nods each, while The Inheritance is the most recognised play with eight nominations. The ceremony takes place on Sunday 7 April at the Royal Albert Hall, hosted by Jason Manford.
Mind the Blog rounds up her favourite male performances in the theatre during 2018.
Mark Shenton offers reviews, news, interviews and tweets of the week from the West End, Broadway and beyond.
Marianne Elliott’s new and updated production of Stephen Sondheim’s Company is so utterly necessary. And I use the word necessary very deliberately.
The moment Company opened younger audiences who had never seen it before similarly lamented that it could ever have been done with a man. ‘But it’s a woman’s story’. And for 2018 it is. It could only be.
Marianne Elliott’s Company is a show for a 2018 audience. Take yourself down to the Gielgud Theatre to see the musical which is sure to sweep the next Olivier Awards.
Phone rings, door chimes, in comes an adaptation of Company that subtly but definitively realigns it for a contemporary audience and makes you wonder how you could ever go back to the original as is.
Marianne Elliott’s production of Company is the comeback kid, another demonstration that Britain is natural Sondheim country: all dry wit and laughing resignation.
Marianne Elliott brings Company to the West End with a production that may well change the musical forever.
Jonathan Bailey will play Jamie (originally written as the female character, Amy) and Alex Gaumond will play his devoted fiancée Paul in Marianne Elliott’s new production of George Furth and Stephen Sondheim’s Company which opens at the Gielgud Theatre from 26 September 2018.
Robert Hastie once said that the director’s role is “to provide the clearest conduit between a writer and an actor”. Such an approach, effectively of getting in the way as little as possible, perfectly suits the prosaic dialogue of Peter Gill’s 2001 play The York Realist.
Peter Gill’s 2002 play, The York Realist, which won plaudits but not universal acclaim at first, is rendered in the Donmar’s intimacy by director Robert Hastie as something perfect: delicate, clear and natural as an upland brook.
The York Realist at the Donmar Warehouse is a glorious show which creeps up on you slowly, naturally and beautifully. I couldn’t think of a better way to spend 130 minutes.
Nothing feels rushed in Robert Hastie’s wonderful new production of The Yor Realist at the Donmar Warehouse, allowing this beautifully sad production to really touch the heart. A modern classic and a Yorkshire Brief Encounter indeed.
There are all sorts of big productions arriving in the months to come (Long Day’s Journey Into Night, the return of Amadeus, PATTI LUPONE!), but I’m using this spot to highlight some of the shows on the London fringe and around the UK (and Amsterdam…) that have piqued my interest and which I hope to get to review.
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