After the last 15 months in which theatre has been mostly a wasteland, it is wonderful to be back in one of the grandest theatres of all (the London Coliseum) and watching one of the most delightful of shows (Hairspray).
Fourteen months and four attempts later, Hairspray is finally back in the West End – the energy, sentiment and exhilaration of the show is completely irresistible.
Free to view on YouTube, this edition of The Showstoppers’ Alternative Eurovision for 2021, a week in advance of the main event, proves to be a dramatic sequel to last year’s shenanigans, but with stronger production values.
Actor Les Dennis is to join the new production of Hairspray the Musical which is set to play a limited season at the London Coliseum from 21 June to 29 September 2021.
Phillip Breen’s lively revival of John Vanburgh’s Restoration romp, The Provoked Wife, for the Royal Shakespeare Company, has glorious parts for both Caroline Quentin and Alexandra Gilbreath.
End of the Pier is funny, poignant and thought-provoking. It leaves no stone unturned in its examination both of comedy and cruelty. It does well in showing how well the two become seamlessly entwined – and how, when they aren’t the edges can seem just a little too bland.
Danny Robins’ funny, credible, sharp-tongued play pivots around four figures of central cultural importance to modern Britain: three comedians and a comedy commissioner.
Offering two hours of compelling and arguably unmissable theatre combining humour and cliche together with many unpalatable home truths, End of the Pier is one of the most stimulating new plays this year.
Overall, End of the Pier is a sharply observant play that is transformed into a compelling production that makes the audience sit up and pay attention.
In these ultra-sensitive, snowflake times, writing, and performing, comedy is fraught with danger. One wrong word or gag and a once glittering career can lay in tatters. TV and radio writer, Danny Robins, who has performed stand-up himself, knows what it’s like to be walking on eggshells, coming up with patter that’s funny and relevant […]
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London’s Park Theatre today announce their new July-December 2018 season. Featuring a mix of new and existing writing, the season includes six world premieres, one UK premiere, three celebrated revivals and a brace of homegrown productions, two of which have been developed through Park Theatre’s Script Accelerator programme.
This show is a must-see for all, with a mixture of pure wit, funny lines and the occasional sexual innuendo underpinned by a fabulous musical score, everything hit the right notes, especially the actors.
The story centres around a grown-up Wednesday’s newfound romance, with the Addamses preparing to welcome the family of her new boyfriend for dinner. However, there is a secret looming that threatens the foundations of multiple relationships, and as the night descends into chaos more destructive secrets are revealed.
The Addams Family, created by American cartoonist, Charles Addams, have been a part of popular culture for decades through a audience-pleasing sitcom, several films and now a musical. The Addams are an eccentric bunch, who live a macabre but family oriented life, unaware that people find them odd.
Diego Pitarch’s set is constantly changing and extremely layered but doesn’t look overcrowded or messy and the Gothic feeling is well achieved.
“I sobbed when I came off stage the first night, just went into my dressing room and had a little cry. It’s incredible. I’d never heard of The Addams Family (musical) until a few years ago. Until I was asked to do a concert with Andrew Lippa.”
Sad to say, what I’m saying is that I was not a fan of The Addams Family at all. After a cracking opening number which promises oh so much, Marshall Brickman and Rick Elice’s book grinds to a juddering halt in a first half which does nothing but interminably set the scene.
These are the skeletons you want in your closet. In Addams Family Musical, Samantha Womack brings unexpected warmth to Morticia – is that a good thing? – and Cameron Blakeley’s Gomez, Carrie Hope Fletcher’s sensational Wednesday and Les Dennis’s baleful romantic Uncle Fester are all prime turns.
From the moment the overtures commences with the iconic clicks from the cartoon/TV series the audiences are not only on side but clicking along. The story, characters and settings are iconic. But with such a cultural resonance of course comes great expectations.
Matthew White directs this revival of the musical, featuring music by Jerry Bock and lyrics by Sheldon Harnick. But what have critics been saying about it? The Guardian: **** “It’s a show that gains from the intimacy of the Menier setting and […]
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