The Show People Podcast is back and in this episode host Andrew Keates is joined by Paul L. Martin, best known for being the Marmite judge on the BBC reality series All Together Now.
As the Turbine Theatre’s second production, it’s wonderful to see a musical like High Fidelity which brings to life some of the excellence of this city.
The Show People Podcast is back and in this episode host Andrew Keates is joined by world renowned and Olivier Award-winning choreographer Stephen Mear.
Before Jonathan Larson’s iconic musical Rent took the world by storm, there was the autobiographical show, Tick, Tick…Boom!
Strong direction by Adam Haigh and consistently impressive performances by the cast bring Brooklyn The Musical at Greenwich Theatre to life with vitality and vocal prowess, and make it one to tick off the list.
It’s rare to see such a provocative performance from a stellar performer in such an intimate space and it’s worth taking a trip just for the bragging rights of seeing Jeannette Bayardelle up close in Shida.
Though the design is superb, the kids are both adorable and excellent performers, and McGuiness’s work is solid, the appalling storyline of Big and its tone-deafness can get in the bin.
“Fame!” – we all know the infamous song. The lyrics, “I’m gonna live forever, I’m gonna learn how to fly, HIGH” are not well known just because of the original 1980 film, but because of the subsequent television series, film remake and musicals that followed.
Back in the West End after 12 years, Fame makes a triumphant return with Nick Winston’s production. This 30th anniversary edition has been touring since 2018 but is having a prolonged five-week stop at the Peacock Theatre.
Intricate but not in-your-face Falsettos is a must-see reminder of human love; and a great example of how moving music can be.
Judging the production at face-value though, Falsettos is well sung, ultra-smart and ultimately gutting. Those who buy a ticket will have plenty to look forward to.
With an influx of Broadway transfers and film/book to movie adaptations dominating the London theatre scene, it’s always wonderful to see new British theatre developing. The Feeling by Kyra Jessica Willis is a good example of this, as it brings social troubles to light in a headstrong way that feels authentically British.
One of the most iconic musicals of all time, this West Side Story is an explosion of colour and culture clashes which immerses all your senses at the Sydney Opera House. This heart wrenching tale of lovers from two sides is a rollercoaster journey, taking its audience through every emotion.
The British Theatre Academy’s production of the Caribbean-inspired Little Mermaid adaptation, Once On This Island is an enchanting show with dynamic, heart-wrenching performances, energy in spades and a glorious uptempo score.
The Paines Plough Roundabout is the most reliable, new writing venues at the fringe. With a collection of work that represents the width and breadth of the UK both geographically and thematically, this year’s offerings are universally strong.
Jonathan O’Boyle has directed a moving production of The View Upstairs which feels like an homage to those fighting for gay rights in the past, those fighting now and those who are yet to realise they need to fight.
Musically the show is lovely, but Fiver sadly feels much more in the past than it should, and for a show that is meant to showcase snapshots of all different people’s lives, lacks any significant diversity at all.
New British musical by Alex James Ellison and Tom Lees, Fiver follows a humble five pound note as it passes through the hands and pockets of various people in London.
The British Theatre Academy presents this colourful, semi-staged concert version of Stephen Schwartz’s Godspell. Providing a space for young performers to gain real theatrical experience, this particular version is a lovely ode to a well-loved piece of music theatre.
The performances are strong in Bare: A Pop Opera at The Vaults and the music itself is extremely clever and mostly engaging.