A jewel-toned joy, Rodgers and Hammerstein’s Cinderella transports audiences back to the magic of Broadway’s Golden Age, when an evening of musical theatre meant a magical discovery of new and wondrous work.
The trouble with The Woman in White is that if you dissect the elements Andrew Lloyd Webber fused into the show, they’re all perfectly fine. You could also add that Thom Southerland’s production flatters the source material with a rich and generous staging and some very lush orchestrations.
The production, gloriously directed by Tania Azevedo, gives insight to the hardships and trials that singer/actress Rosemary Clooney faced in her extensive career, and the lengths she went to in order to hide her struggles from the world.
There are some gay men through whom the word ‘Judy’ runs like a stick of cheap rock. To question their devotion to the long-deceased Ms Garland is to adopt the same dangerous stance as contemporary Twitter heretics who suggest the much-loved Sheridan Smith may be a bit of a flake for not turning up to work six nights a week.