It is still a relatively rare experience to see a working class drama that invests its characters with a profound and complex, even a poetic interior, life, but from the first moments of Richard Hawley and Chris Bush’s Standing At the Sky’s Edge when a workman stops to greet the beauty of the dawn and the sound of birdsong, it is clear that this is no ordinary representation of
It has been another complicated year for theatres with venues unable to welcome in-person audiences for more than five months of 2021 and the tail end of the year returning to enforced closure and performance cancellations.
Directed by Rupert Goold with a cast of highly talented young performers, this energetic production about teenage desire and the failure of parental direction is a rare musical choice for the Almeida.
This version from Chocolate Factory Productions returns to the original – with some updates – and is now touring after an acclaimed West End run. Much of the publicity has centred on Sheridan Smith in the central role, and she surely deserves all of the praise that continues to come her way.
Hot on the heels of a record breaking, critically acclaimed West End run this ‘utterly irresistible’ (The Sunday Times) new production of FUNNY GIRL embarks on a major national tour in 2017. The five-star production opens at Manchester Palace where it runs for a week from 20 February 2017.
People, people who need people are, allegedly, the luckiest people in the world. I’d argue that those who are emotionally and financially self-sufficient have a hell of a bigger reason to feel lucky than those who depend needily on others for their wellbeing. But I’m not a character in a musical – and neither, really are the people who need people who appear in Funny Girl a narrative so far removed from the actual history of kooky kosher comedienne Fanny Brice and her deeply dodgy gangster hubby Julius ‘Nicky’ Arnstein as to be a complete fiction.