Though I’ve spent most of the last nine months really missing the real theatre that has fuelled my life for the last 40 or so years since I started going compulsively from the age of around 16, I’ve spent more time than I’d have liked in a different kind of theatre — an operating one, when I had three spinal surgeries in the space of 15 days in September. And I’ve become particularly obsessed by another kind of theatre, too: political theatre.
Last week I launched a new podcast series ShenTens here, counting down my top ten favourite musicals, and today the second episode is released.
Some commercial producers, it appears, wanted the old order to be restored and business to proceed as normal, hence the rush to re-open as quickly as it was legally possible to do so back in November after we emerged from the second lockdown.
In the last 30 years or more, roughly half of every new musical that arrives on Broadway or in the West End seems to be based on a film.
I’ve launched a brand-new weekly podcast, called ShenTen, in which I will countdown my personal top tens in different theatrical categories.
I’ve just gorged on the second series of Staged, the blissful second series of the actors-in-lockdown zoom show, directed and co-written by Simon Evans, with Michael Sheen and David Tennant playing (versions of) themselves.
Now that I’m getting into a rhythm on these daily columns, I’m going to try to introduce some regular features. And starting today, I’m planning on launching the week with column of disparate “diary” items — some fun, some not, that of stories that have made the news in the previous week.
It’s difficult to know exactly what the West End might look like when it finally returns: already there’s been some shape-shifting.
ll producers going forward will build digital preservation of their productions into their business models — and a future revenue stream will be available that means that no production need die anymore when the final curtain comes down, either.
Mark Shenton reflects on the careers of two young gay actors, the late Marcus D’Amico and Jonathan Bailey (recently seen in Bridgerton), & their different experiences of the arts industry in different eras.
While Matthew Warchus at the other end of the Cut from the Young Vic, may have the Old Vic that he presides over (without any subsidy) dark, too, actually the theatre has been in use regularly and has continued to produce throughout the pandemic, with its “In Camera” broadcasts of live performances that have been staged in its empty auditorium.
One of my new year resolutions — and one I intend to keep — is to revitalise this personal website ShentonStage as my primary editorial home this year.
We’ve said goodbye to 2018 — including a look back at some of the year’s highlights and lowlights. Now it’s time to look ahead to 2019 — and offer my picks of the year so far announced.
I finally saw sense — or admitted defeat, depending on how you look at it. After what feels like a lifetime of chasing my tail as I tried to see everything – or at least everything that was hotly tipped and/or well-reviewed — I simply gave up the battle.
In beginning conversations about theatrical diversity, theatres and critics alike need to recognise that we need each other. Looking for solutions together rather than attacking might be a more constructive route.
Mark Shenton rounds up news, reviews & tweets of the week from London, New York & beyond including a life-size first birthday cake of John McCrea at Everybody’s Talking About Jamie and the opening of King Kong on Broadway.
Mark Shenton offers reviews, news, interviews and tweets of the week from the West End, Broadway and beyond.
Mark Shenton’s news, reviews, quotes, tweets and farewells of the week, from the West End, Broadway and beyond.
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.
Mark Shenton offers the week’s news, reviews, quotes and tweets in theatre from both sides of the Atlantic, including an interview with Sonia Friedman, reviews of Shakespeare in three different abbreviated versions, and a YouTube star appearing on Broadway.