Burnt Lemon Theatre’s Tokyo Rose shows that you don’t need a big budget to stage a compelling musical.
It’s been a while since I’ve reviewed one of the many shows which youth theatre Chickenshed put out during the pandemic. In fact, their last released piece came out in May so apologies to them for getting to this so late on. As with some of their previously released pieces it’s one of their boldly reinvented Christmas shows, this time from 2012.
As it’s a recorded stream, you’re at liberty to choose your own encore moments and replay any numbers which particularly take your fancy – and there are bound to be several of those.*
Hitting the highway until late 2022, after several staggering runs in Toronto, New York and London, Bat Out Of Hell returned to its proverbial Manchester home this weekend.
Public Domain is a verbatim musical winner which lifts the lid on life online and joins an august group of productions streamed from Southwark Playhouse. Strongly recommended.
The Charles Court Opera team, working at the King’s Head Theatre in Islington, presents Snow White In The Seven Months Of Lockdown.
The Showstopper gang haves had a busy time of it in lockdown (including their Alternative Eurovision and an online musical improv) and now they are back for a residency at the Garrick Theatre on Monday nights.
Finborough Theatre’s latest online offering is Adding Machine: A Musical, based on the American expressionist classic of the 1920s by Elmer Rice.
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.