Judging the production at face-value though, Falsettos is well sung, ultra-smart and ultimately gutting. Those who buy a ticket will have plenty to look forward to.
In a production that is as much rally as world class musical, Jamie Lloyd transforms Evita into a commentary on recent times as well as a showcase of some of the finest performing talent to be found on both sides of the pond.
This year’s National Youth Music Theatre (NYMT) residency at the Other Palace sees this remarkable theatre company tackle Jason Robert Brown’s Parade, a musical that is as technically demanding as its story is grim and harrowing.
Equus remains a fascinating, if dated, piece of writing from Peter Schaffer, exploring the psycho-sexual complexities of the adolescent Alan Strang, a boy who has just, horrifically, blinded six horses.
For this week only, the capital can again savour the vocal excellence of Molly Lynch in her one-woman show Rodgers and Hammerstein & Me Too
Jeremy Sams and his creative team have delivered theatrical magic in Oklahoma! at Chichester Festival Theatre.
There may be a whiff of sensationalised cliché to this world premiere of Bitter Wheat, but no matter. Mamet’s subject is timely and relevant and Malkovich’s performance is electrifying.
With its first major cast change since opening – as well as a shift across the Thames – Trevor Nunn’s Fiddler On The Roof remains one of London’s musical theatre jewels.
Only on until 4 July before an international tour, The Light In The Piazza is a must see for all who appreciate modern writing and quality musical theatre.
There are momentary gasps and occasional laughs in The Starry Messenger but ultimately this is a stretched out evening at the theatre, albeit one with a starry cast.
Philip Ridley’s tawdry words in Vincent River, at times offering little more than a virtual peep show into graphic descriptions of verbally violent torture porn, tell us nothing new.
As part of a new series, our editor Lisa Martland picks out seven of her Top Picks from the last week of theatre (20-27 May 2019). Amidst her choices is the return of The Lehman Trilogy, impressing Jonathan Baz with its ‘sheer technical theatrical genius”, while Aleks Sierz asks whether wearing headphones during a performance of Anna at the National Theatre is all a gimmick or vital to the impact of the play.
Notwithstanding its flawed message, in these times of unparalleled political polarisation The Lehman Trilogy will be lapped up by eager audiences. And for sheer technical theatrical genius, the play is in a class of its own.
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.
As part of a new series, our editor Lisa Martland picks out seven of her Top Picks from the last week of theatre (29 April-6 May 2019), ranging from Johnny Fox’s nostalgic return to see All My Sons and Maryam Philpott’s thoughts on the much-anticipated Rosmersholm starring Tom Burke and Hayley Atwell.
It has been 50 years since Man Of La Mancha last played in London’s West End and based upon this year’s offering from the ENO and co-producers Grade-Linnitt it is easy to see why.
Not seen on a London stage for 40 years, Ain’t Misbehavin’ is gloriously revived at Southwark Playhouse in a co-production with Colchester’s Mercury Theatre.
George A Romero’s 1968 movie Night Of The Living Dead not only unleashed zombies upon an unsuspecting world, but was also one of the first movies to fuse horrific gore with political allegory and just a spattering of satire.
Canny casting directors would do well to make the trip to Highgate and catch the quartet of Sophie Camble, Rosie Needham, Louise Young and Kara Taylor Alberts in The Marvellous Wonderettes.
Janie Dee and Joanna Riding are two of the UK’s finest musical theatre performers. At the National Theatre the return of Dominic Cooke’s acclaimed production of Follies currently stars the two actresses.