Cameron Mackintosh has announced that in honour of Stephen Sondheim’s 90th birthday in March 2020, the Queen’s Theatre will be renamed the Sondheim Theatre, making him the only living artist to have a theatre named in his honour both in the West End and on Broadway.
Tickets go on sale today for a strictly limited season of Stephen Sondheim and James Lapine’s Sunday in the Park with George starring Academy Award nominee Jake Gyllenhaal and Tony Award winner Annaleigh Ashford and directed by Sarna Lapine, at the Savoy Theatre.
Actor/singer/writer/dad Nadim Naaman takes a moment to answer 10 Questions for 10 Years most thoughtfully indeed.
A pair of dreamy album reviews with Matthew Croke’s Only Dreaming & Anna O’Byrne’s Dream.
Janie Dee and Joanna Riding are two of the UK’s finest musical theatre performers. At the National Theatre the return of Dominic Cooke’s acclaimed production of Follies currently stars the two actresses.
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.
The Olivier Award-winning Follies returns to the National Theatre in richer, deeper, more resonant form and just blows me away.
Eighteen months on and with a couple of well-placed casting changes Stephen Sondheim’s Follies returns to the National Theatre with the excellence of this devastating musical a breath of fresh air amidst a slew of disappointing recent openings in the capital.
After its sold out run in 2017, Follies is back in true glamorous style as it follows a group of dancers reminiscing and reliving their youth.
Longterm fans of Merrily We Roll Along have every reason to see and enjoy this dynamic version. Newcomers will find the material clearer than may have been the case in previous incarnations.
The recent revival of The Gershwins’ Porgy & Bess at English National Opera and the prospect of comparing all its available recordings in BBC Radio 3’s Record Review has prompted me to look a little deeper into this landmark score and to reassess its significance in the chronology of American music theatre.
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.
On an ordinary Sunday, Melbourne theatregoers were treated to the extraordinary talent Broadway legend Mandy Patinkin.
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.
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 brings Company to the West End with a production that may well change the musical forever.