We’ve all got them: things we enjoy — sometimes mightily — that it’s just a little bit embarrassing to admit to liking. Like admitting, in my case, a massive passion for Selling Sunset, the real estate reality TV show set in the cramped offices of an LA boutique agency that sell houses to millionaires and billionaires. (But somehow seem to work cheek-by-jowl in a tiny office on Sunset Boulevard).
My weekly ShenTens podcast, in which I count down my top ten favourites in a particular category, is inevitably subjective — but few theatrical terrains are as hotly contested as this one: whom I consider to be my favourite Broadway leading ladies.
Radio 2’s Greatest Show could — and should — have been a platform to celebrate more British musicals, especially here, especially now, with the industry floundering so badly. A show of support for our own creators of new musicals would not have gone amiss.
We should celebrate the fact that within the space of a year London has played host to stagings of not one but two Sondheim masterpieces that have all but redefined them in theatrical terms: Company and Follies.
Come From Away, Company and The Inheritance led the way with four awards each at the Olivier Awards 2019 with Mastercard, announced at a ceremony tonight (Sunday 7 April) at London’s Royal Albert Hall, hosted by Jason Manford.
Just the one more trip to see the glorious Company at the Gielgud Theatre before it sadly departs. Marianne Elliott’s multi Critics Circle Award-winning and Olivier-nominated revival of Stephen Sondheim’s modern classic must finish tonight (30 March 2019).
Musicals Company and Come From Away top the Olivier Awards 2019 nominations with nine nods each, while The Inheritance is the most recognised play with eight nominations. The ceremony takes place on Sunday 7 April at the Royal Albert Hall, hosted by Jason Manford.
Exemplifying the meaning of the term “revival”, Marianne Elliott delivers a brand new take on classic concept musical Company that is fresh, funny and altogether fabulous.
Marianne Elliott’s new and updated production of Stephen Sondheim’s Company is so utterly necessary. And I use the word necessary very deliberately.
Where to start on something that is so perfect that it defies belief, for, Company is the very definition of perfection in my opinion. From the opening to the closing moment time just flashes by, such are the performances delivered by the whole cast.
They don’t come much more glitzy than a new Sondheim production in the West End. That Company is one of Sondheim’s most popular if not THE most popular of his musicals could be gauged by the roar that went up on opening night even before the lights had dimmed.
The moment Company opened younger audiences who had never seen it before similarly lamented that it could ever have been done with a man. ‘But it’s a woman’s story’. And for 2018 it is. It could only be.
Marianne Elliott’s Company is a show for a 2018 audience. Take yourself down to the Gielgud Theatre to see the musical which is sure to sweep the next Olivier Awards.
An evening at Marianne Elliott’s production of Company at the Gielgud Theatre is unquestionably fine theatre. Everybody rise.
Phone rings, door chimes, in comes an adaptation of Company that subtly but definitively realigns it for a contemporary audience and makes you wonder how you could ever go back to the original as is.
Marianne Elliott’s production of Company is the comeback kid, another demonstration that Britain is natural Sondheim country: all dry wit and laughing resignation.
Marianne Elliott brings Company to the West End with a production that may well change the musical forever.
My Top 10 ‘Losing My Mind’ post has been one of the most popular on the site, so I thought I would repeat the exercise with what is arguably Company’s most iconic song ‘Being Alive’.
Jonathan Bailey will play Jamie (originally written as the female character, Amy) and Alex Gaumond will play his devoted fiancée Paul in Marianne Elliott’s new production of George Furth and Stephen Sondheim’s Company which opens at the Gielgud Theatre from 26 September 2018.
Melbourne musical theatre cognoscenti made their adoration of Patti LuPone clear, giving the first of many standing ovations the moment she stepped on stage.
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