Ideological hostilities across the world, fake news and paranoia, a resurgent deep left, uneasy relations with Russia, antisemites questioning the patriotism of Jews: no bad time to revive James Phillips’ powerful play The Rubenstein Kiss.
“When we play up north, it is very much Maggie’s show being a northern girl. Then when we bring it down south, it is about the boys and Jewish refugees. The power dynamics people identify with change massively. “
When I chaired my first post-show Q&A at Miss Nightingale a year ago, I thought its home then was ideal: The Vaults, in its labyrinth beneath Waterloo Station, so like an air raid shelter, seemed to perfectly fit the setting of London during the Blitz. But now that it’s moved to the London Hippodrome, it’s obvious, THIS is truly the ideal venue.
Matthew Bugg – creator, director, producer of the spirited musical Miss Nightingale – has found the ideal glam-louche venue for his tale of cabaret and illicit love. I always knew it would work even better at tables with drinks on them.
At the Hippodrome Casino, in an unusual move from cabaret to a six-week run of a staged musical, Matthew Bugg’s Miss Nightingale comes up for air for at least the third time after taking the plunge at the King’s Head and The Vaults.
As part of her ongoing post-show Q&A series, on Thursday 29 March 2018, Mates co-founder Terri Paddock will talk to the creator and company of original British musical MISS NIGHTINGALE, now getting its West End debut. Got any questions?
As an original musical, not based on a book or a film, nor brought over from America to our side of the pond, Miss Nightingale is somewhat of an anomaly on the theatrical scene at present. It is a highly political piece, but not one that announces its own intentions.
Tender and occasionally naughty, Miss Nightingale is a musical that is absolutely spiffing from beginning to end. Whisking audiences back to 1942, Miss Nightingale is the name of a brand new cabaret act who is about to take the world by storm.
What a great way to get the Bank Holiday weekend off with a swing. Last night, I hosted a post-show Q&A at MISS NIGHTINGALE. This original British musical is now in its sixth iteration – musicals, as Sondheim says, aren’t written but re-written – since starting life as a short piece in Ipswich and at […]
It’s fascinating to be able to revisit shows along their developmental cycle. I first saw Miss Nightingale in its initial chamber-musical incarnation at the King’s Head back in 2011 and since then, it has become a fully-fledged piece which has toured the UK extensively.
Miss Nightingale storms the stage to start the show just as it ends – with energy, enthusiasm and a patriotic desire to support the troops. Unfortunately, these kinds of scenes are often where Matthew Bugg loses his way slightly on the show, releasing his otherwise tightly held grip and clear conceptual realisation in favour of getting the audience on their feet, involved and dancing.
Matthew Bugg’s musical sees him play actor, musician, producer, director and composer/lyricist. Is it too many hats for one man to wear or does Mr Bugg manage to get the balance, just right?
As part of her post-show Q&A series, Mates co-founder Terri Paddock will talk to the creators and company of hit British musical MISS NIGHTINGALE on Thursday 23 February 2017. Got any questions? Book tickets to join her via the links below.