With White Christmas, Curve has yet again produced a classy production filled with yuletide magic and enough fluffy escapism to warm hearts on these cold winter nights.
Now, Laurence Connor and James Powell’s new production of Les Misérables (seen on Broadway a few years ago) gives Les Mis a fresh look which will assure its longevity.
The night before Dr Martin Luther King Jr’s assassination on the balcony outside of his Memphis motel room, Katori Hall’s play The Mountaintop takes us inside Room 306 where he was staying.
Having come to Rock of Ages with no prior reference other than the 2012 film version (mostly memorable for featuring a surprisingly entertaining performance from Tom Cruise) I was, let’s say, unprepared for the stage show. It’s an altogether louder, more unsavoury affair.
A Very Very Very Dark Matter lacks the coherence and pleasing culmination of the playwright’s other works. Despite the ‘upbeat ending’, this play displays none of Martin McDonagh’s trademark pitch-black farce.
To say Calendar Girls The Musical is celebratory seems cliché, yet there’s no better description; Calendar Girls is an unashamed celebration of love, life, and community (and cake!).
Overall, Cilla the Musical is a watchable and well-produced show. On the other hand, I think there’s possibly a more interesting story in there.
Bourne’s Swan Lake is timeless, this production as fresh as ever, while a company that embodies a tireless amount verve, ingenuity, precision and emotion ensure this is a revival to be universally celebrated.
Despite a lack of connection, The Wipers Times celebrates a great, previously untold story, about war, journalism, tenacity, and the need for humour in difficult times.
The Lovely Bones is one of the best plays I’ve seen this year. In fact, Melly Still’s vital production is the best page to stage adaptation I’ve seen since Curious Incident.
In Bill Buckhurst’s production of Sweet Charity we benefit from the delicate balance between the seediness of the New York backstreets with the technicolor of Charity’s blithe daydreams.
Whatever criticisms people may have of McDonagh, his neat plotting and big jokes are enough to entice people not usually interested in theatre. It may be Aidan Turner drawing the crowds in, but it’s Martin McDonagh keeping them satiated.
Exit the King’s interest in the crumbling of a kingdom is relevant, and I found its musings on death – and Anthony Ward’s visual representation of this – emotionally affecting.
By turns cynical, touching and with a rogue twinkle in its eye, Allelujah! doesn’t set the stage alight, and as both a black comedy and state-of-the-nation play it feels underpowered, but Bennett remains a bastion of not just British playwriting, but Britain as a whole.
Claire van Kampen’s decision to eschew gimmick/concept is a bold statement in a production of Othello that generously places the focus firmly on plot and character, and pays dividends for it.
Like America promises so much to Henry Lehman when he stands on the dock side, The Lehman Trilogy at the National Theatre promised so much as well.
Apparently, this stage adaptation of Raymond Allen’s 1970s’ classic sitcom was conceived when writer/director Guy Unsworth was directing Joe Pasquale in Monty Python’s Spamalot in London.
Fun Home exceeds all expectations. It’s one of those productions where everything – book, music, performance, design – comes together in perfect harmony and by the final notes you know you’ve witnessed something sublime.
If I have been overly harsh, I apologise, and I’m sure many audience members found aspects to enjoy in The Final Curtain, however, if ‘cosy crime’ is your thing, I think you’d be better off sticking to ITV3 repeats.
In all of the hot air, there’s been lately about the 25 greatest plays since Angels in America, I cannot argue against the decision to include An Octoroon high on the list.