Filmed simply and elegantly in the Little auditorium at Southwark Playhouse, Before After places all our attention on the problems of these two people as they begin again.
A line-up including a new work from playwright James Graham will feature in Nottingham Playhouse Unlocked, Nottingham Playhouse’s three-week reopening season which runs from 21 October to 7 November 2020.
Here’s our guide to some of the familiar faces that you can expect to see on stage this year…
Josie Rourke’s critically acclaimed and Olivier Award-winning production of City of Angels makes its West End transfer five years since opening at the Donmar Warehouse in 2014.
Tinkle, drizzle, bubble and gush! Alex Ramon, the man forever Boycotting Trends take up the 10 questions challenge.
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.
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.
Normally I do two of these – Top Ten Shows and Top Ten Performances – but this year I’m combining the two – plus some sundry other awards.
The winners of the 64th Evening Standard Theatre Awards have been announced, with double wins for the National Theatre’s Antony & Cleopatra and the West End productions of Company and Hamilton.
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.