Continuing Phil Willmott’s ‘Enemies of the People’ Essential Classics season for 2019 is a new musical, Can-Can!, following on from Arthur Miller’s An Enemy of the People.
Courtesy of choreographer Adam Haigh, there is some seriously impressive dance going on at the Union Theatre right now. You might expect some good moves from a musical Can-Can! but the full company sequences that book-end the show are full of verve and vitality and some jaw-dropping moments, which are all the more impressive for taking place on a stage as intimate as this.
Opening up Phil Willmott’s ‘Enemies of the People’ Essential Classics season for 2019 is a new production of Arthur Miller’s An Enemy of the People, which is itself adapted from a play of the same name by Henrik Ibsen. The play has a limited run at the Union Theatre, prior to Offenbach’s Can-Can! and Shakespeare’s Othello, as part of the same season.
Arthur Miller’s adaptation of Henrik Ibsen’s An Enemy of the People could have easily been adapted in the last couple of years as a, not at all subtle rebuke to the election of Donald Trump and Flint water scandal. Worryingly Miller’s adaptation was written in the 1950s and Ibsen’s original in 1882. Has nothing really changed?
This production of the sharply relevant play An Enemy of the People at the Union Theatre features numerous dynamic performances, ensuring the audience’s attention is never lost.
Meanness and greenness have often gone hand in hand at Regent’s Park – £3.50 for a tiny ice cream cone, really? – but never more so than in Maria Aberg’s confident production of Little Shop of Horrors at the Open Air Theatre.
After a successful production last year with Arthur Miller’s Incident At Vichy, director Phil Willmott returns with another one of Miller’s plays – this time one of his lesser-known works. Paradoxically, it is of more possible interest than the rest of his canon…
Phil Willmott’s production of Carmen 1808, based on Bizet’s beloved opera, has plenty of passion and Spanish flair to make for a highly engaging experience.
In the right hands (and voices) opera’s classics can work spectacularly on the Fringe, but all too often in Carmen 1808 one is left with the distinct feeling that Phil Willmott has done to Bizet’s melodies what Napoleon’s riflemen did to the helpless Spanish.
George Bernard Shaw’s Heartbreak House, stylistically inspired by Anton Chekhov, was first performed in 1920. Set on the brink of the First World War, its message about the very real danger of political indifference chimes with today’s audience.