We take a look at what critics have had to say about Lear deBessonet’s Broadway production of Into The Woods starring Sara Bareilles and Gavin Creel.
REVIEW ROUND-UP: A Strange Loop in New York
Broadway’s latest musical by Michael R Jackson has been nominated for an impressive 11 Tony Awards. But what have critics had to say about it?
REVIEW ROUND-UP: Macbeth at the Longacre Theatre, New York
Love London Love Culture’s Emma Clarendon take a look at what critics have been saying about Sam Gold’s production starring Daniel Craig and Ruth Negga.
Is ‘Zoom in the flesh’ the way to wake up producers’ creativity post-pandemic?
I recently tried a technical experiment with Zoom and believe we may have found a way to harness the power of distance connection with the desire for getting back in a room.
REVIEW ROUND-UP: Moulin Rouge! on Broadway
Love London Love Culture rounds up the reviews for one of the most highly anticipated musicals of the year, Moulin Rouge! on Broadway.
Love London Love Culture’s Broadway Picks
Love London Love Culture’s Emma Clarendon picks out some of the shows on Broadway she wants most to see…
‘Suchet’s portrait is memorable in all its detail & density’: THE PRICE – West End
David Suchet is majestically magnificent in this excellent revival of Arthur Miller’s 1968 family drama The Price.
The Show People Podcast: Back from Broadway, musicals leading man Alistair Brammer
It’s the hottest day of the year when this podcast is recorded – and we’ve got a leading man to match! Actor Alistair Brammer joins host and director Andrew Keates for this episode of the Show People Podcast, after playing Chris in both the Broadway and West End productions of Miss Saigon.
OFF–BROADWAY: ‘Intentions come from a good place’ for We Live By The Sea
Patch of Blue, the company responsible for We Live By the Sea, specialises in devised theatre that expands the conventional scope of audiences and here they share the life of a 15-year-old woman on the autistic spectrum.
INTERVIEW: Umbrella Festival’s Peg Schuler-Armstrong on working with Oily Cart
New York’s Lincoln Center invited UK-based Oily Cart to be one of three theatres from outside the US to perform at the Big Umbrella Festival, the first of its kind dedicated to such audiences.
On Broadway: What did an American theatrical anglophile make of Lucy Kirkwood’s The Children?
American dramaphiles tend to view Britain as a hotbed of hyper-verbal and hyper-intellectual plays, especially in comparison to our home-bred musicals that often lack the same resonant depth.
2017 Regional theatre recap
Much of my ‘touring’ has been concentrated in Bristol and Chichester; there are a few other UK venues to add to the list, as well as some from my week in New York, of course.
Audiences & addiction in People, Places & Things
A second, transatlantic viewing proves just how thoroughly the production theatricalises addicts’ experiences in order to generate audience empathy with the struggle to overcome addiction.
ORDINARY DAYS – Drayton Arms Theatre ★★★★
Christmas is approaching so spirits are high but as the days get colder we and darker we tend to crave the optimistic escape that theatre provides. Ordinary Days is just what we need – realistic, heartfelt and warm.
‘Charm & wit’: Ordinary Days – Drayton Arms Theatre
There is the glorious Deb. A semi-neurotic slice of contemporary crisis. Nora Perone completely nails the role with her excellent vocals and comic timing.
HEISENBERG: The Uncertainty Principle – West End
Anne-Marie Duff and Kenneth Cranham try their best in unconvincing rom-com, which is predictable and portentous.
THE TOXIC AVENGER – Arts Theatre
I’ve seen sexist theatre. I’ve seen ableist theatre. But it’s rare to come across a show that is so openly and unashamedly both of these things.
OSLO – National Theatre & West End
Award-heavy American play about the Oslo Accords is informative, moving and highly entertaining.
Text of the Day: Gloria
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
GLORIA – Hampstead
This play’s subject is alienation, at work and in the home. (But mainly at work.) In contemporary society, office work seems to symbolize a life of modern drudgery.
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