Dillon rose to public prominence in 2006, competing in TV’s How Do You Solve a Problem Like Maria? and from there has gone on to leading roles in musical theatre. Away from the spotlight, recent years have seen the singer win her own very private battle with cancer.
Jonathan O’Boyle’s production of The Last Five Years has to be a definitive production of this complex and unusual work.
Who knows, in years to come a Fringe theatre may manage to hit the right tone with The Prince of Egypt. In the meantime, this production could do with a little more creative flair and re-write.
Clever and entertaining, Elton John It’s A Little Bit Funny is a musically brilliant tribute to one of our greatest showmen.
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 2 February 2020), ranging from Ian Foster’s praise of the Orange Tree Theatre’s fine revival of Lucy Prebble’s first play The Sugar Syndrome.
There is fine work from Jodie McNee as Johanna Faustus in Faustus: That Damned Woman but the piece is overshadowed by a disappointing structure that sidelines real, factual female achievement in praise of the patriarchy.
Above all it is Kretzmer’s stunning lyrical treatment of those soaring French melodies (on press night, immaculately delivered under Steve Moss’ baton) woven around a story that is breathtaking in its scope that still define Les Misérables as a night of world class musical theatre.
Simultaneously an homage to talent, love and friendship – with others and oneself – Beautiful – The Carole King Musical is a masterclass in musical theatre.
In Rags director Bronagh Lagan has assembled some gifted talent in her Park Theatre company with Carolyn Maitland as Rebecca driving the show.
Traditional circus but with a defiantly modern, cutting edge, Lexicon’s live music sets a stunning pulse to the evening, with a backing that ranges from folk, to rock to balladry.
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 23 December 2019), ranging from Jonathan Baz’s enjoyment of the musical and visual treat that is Kander and Ebb’s musical Curtains at the Wyndham’s Theatre.
With dazzling choreography, slick humour and top-notch performances musical whodunnit Curtains is well worth seeing this Christmas.
Matthew Bourne’s The Red Shoes returns to Sadler’s Wells three years after it first premiered – and while the score and dance remain exquisite, there is a depth to this ballet that has only matured over time.
For the run up to Christmas, Peter Andre takes over the leading performance in Gary Lloyd’s Thriller Live.
Greg Doran has translated the play’s Viennese setting to the 1900s, but while there has clearly been an imaginative attempt at a credible interpretation of the yarn, this production is hamstrung by too much mediocrity.
The true story behind Touching The Void and the endeavours and trials that befell mountaineer Joe Simpson and his climbing partner Simon Yates on the Siula Grande mountain in the Peruvian Andes has been recognised in both Simpson’s 1985 bestseller and Film Four’s acclaimed docu-drama released some 18 years later.
The Taming of the Shrew remains an undoubtedly stimulating evening and well worth a visit, if only to witness the script re-imagined and reinterpreted – a pleasing rarity.
Director Kimberley Sykes embraces the playful text of As You Like It with a diverse and tuneful cast so at ease with the text that off-the-cuff moments and audience interaction are plentiful.
Sasha Regan’s revival of Gentlemen Prefer Blondes is one of the finest musical theatre productions in town.
Forget a four hour flight, airport transfers and the like because now Mamma Mia! The Party is whisking audiences straight into the heart of the Greek island of Skopelos – and all within London’s O2.