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.
The highly acclaimed, sold-out Young Vic production of Arthur Miller’s Death of a Salesman will transfer to the Piccadilly Theatre from 24 October 2019 to 4 January 2020, with a press night on 4 November 2019.
Directed by Marianne (actual genius) Elliott and Miranda Cromwell and featuring an African American Loman family, this Death of a Salesman is the clearest, most moving and profound vision of this play I’ve ever seen.
This production of Death of a Salesman will become the stuff of legend, hopefully setting a precedent for future ‘classic’ revivals.
For anyone who has been under a rock for the last couple of years in London theatre, this stripping back to the essence of a classic is one of Marianne Elliott’s (many) talents. And here with Death of a Salesman, with co-director Miranda Cromwell, the play is written again from the ground up. Without changing a word.
For Death of a Salesman, one of Arthur Miller’s greatest plays about the hollowness of the American Dream, Marianne Elliott and Miranda Cromwell and their cast make it an impressive, even dynamic evening that lacks some subtleties but is never less than gripping.
We round up the reviews for the Young Vic’s production of Arthur Miller’s classic play Death of a Salesman.
It’s Marianne Elliott’s impressionistic approach that yields considerable insight into the themes of Death of a Salesman, the characters’ attachment to material possessions as indicators of success, and most especially to the physical home that contains their family history, which they have spent decades slowly paying-off.
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.
Somehow, despite the fact it’s been around for about a billion years, it’s taken me until 2019 to finally see War Horse on stage. Weird right? It’s done the National Theatre, it’s done the West End, it’s done Broadway, it’s done countless other countries around the world and tours around the UK but I’ve always missed it.
Steve Tompkins, director of Haworth Tompkins, the architecture studio responsible for projects including many of UK theatre’s most high-profile building projects, has been named number one in The Stage 100 in association with Spektrix.
Exemplifying the meaning of the term “revival”, Marianne Elliott delivers a brand new take on classic concept musical Company that is fresh, funny and altogether fabulous.
It is a warm and welcome return to the West End for the Olivier Award-winning show The Curious Incident of the Dog in the Night-time, based on Mark Haddon’s beloved book.
If there is a good argument for remembrance, and there is an equally good one for forgetting, what you can never forget is the War Horse experience.
The shortlist for the 64th Evening Standard Theatre Awards has been unveiled. The winners will be announced on Sunday 18 November at the Theatre Royal, Drury Lane.
The Young Vic’s artistic director Kwame Kwei-Armah has announced the venue’s 2019 season which includes Marianne Elliott directinf Death of a Salesman by Arthur Miller, with Wendell Pierce, Sharon D. Clarke and Arinzé Kene cast as Willy, Linda and Biff Loman.
Marianne Elliott’s new and updated production of Stephen Sondheim’s Company is so utterly necessary. And I use the word necessary very deliberately.
They don’t come much more glitzy than a new Sondheim production in the West End. That Company is one of Sondheim’s most popular if not THE most popular of his musicals could be gauged by the roar that went up on opening night even before the lights had dimmed.
A big week in London theatre, with three of the most anticipated openings of the autumn: Marianne Elliott’s new production of Stephen Sondheim and George Furth’s 1970 musical Company, Matthew Lopez’s The Inheritance at the Noel Coward and the launch of Emma Rice’s new post-Globe company Wise Children with a show also called Wild Children, at the Old Vic.
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.