Jonathan O’Boyle’s production of The Last Five Years has to be a definitive production of this complex and unusual work.
It may be almost 20 years old, but Jason Robert Brown’s The Last Five Years feels timeless and recognisable and this bold restaging at Southwark Playhouse is a triumph.
Who knows, in years to come a Fringe theatre may manage to hit the right tone with The Prince of Egypt. In the meantime, this production could do with a little more creative flair and re-write.
While audiences may find The Pirate Queen too repetitive to work as a fully realised production, it provides an evening of outstanding vocal talent and swashbuckling storytelling.
A beautiful, heartfelt story of an unlikely friendship between a Dublin busker and a Czech musician, we present five reasons why you should see Once on its current UK tour.
Above all it is Kretzmer’s stunning lyrical treatment of those soaring French melodies (on press night, immaculately delivered under Steve Moss’ baton) woven around a story that is breathtaking in its scope that still define Les Misérables as a night of world class musical theatre.
In this touring production of Beautiful, following on from lengthy London and Broadway runs, Daisy Wood-Davis plays Carole King from innocent 16 year old with enviable talent to an older and wiser woman.
In Rags director Bronagh Lagan has assembled some gifted talent in her Park Theatre company with Carolyn Maitland as Rebecca driving the show.
A welcome return for Once, a gorgeous show with music truly at its heart and soul.
The audience can’t hep but be attentive throughout as Once has the magical ability to completely wrap them up and take them on a journey that is pure and delicate.
I very nearly did see this one, but it opened and closed so swiftly that I didn’t really have the chance – I wasn’t living in London at that point, so a bit more planning was required for my theatre trips.
In a strong year for new London productions, Curtains finishes 2019 on a high with a true song and dance show that glories in its love of the stage and the process of putting on a production.
At the end of a year in which female-forward and feminist theatre has made so much progress, The Boy Friend looks regressive as well as nostalgic. On the other hand, it is a colourful and escapist retreat from the winter, and we could all do with a night off from angst.
The embodiment of glamour from start to finish, White Christmas whisks you away and takes you to a wintery wonderland where lullabies and tap dances reign supreme.
Before long the stage is overflowing with so much joy, romance and goodwill to all that ultimately, much like the snow song, this White Christmas proves impossible to resist.
If you want an explicitly queer, feminist musical that’s funny, entertaining and scored by songs that you grew up listening to then go see & Juliet.
If this inaugural show, Ghost Quartet, means the new Boulevard Theatre is setting out its stall for a programme of unusually staged and challenging productions in the future then there is every reason to come back soon.
The vivacious performances and gripping qualities of characterisation throughout make Ghost Quartet a thrilling way to spend ninety minutes.
Soho Cinders isn’t life-changing but it allows us to experience tongue-in-cheek, energetic performances which will entertain for the duration of the show.