Broadway
David Benedict
You can accuse Alfred Uhry's 1987 play Driving Miss Daisy of many things – being overtly sentimental is top of the charge sheet – but you certainly cannot claim that it’s a case of false advertising. Even if, like this critic, you missed the original stage version or any of its revivals, not to mention the Oscar-winning movie, it’s painfully clear from the opening scene in which the heroine is forced to hire a chauffeur that this is not just precisely but wholly a play about Miss Daisy being driven. With the, excuse me, Rolls-Royce casting of Vanessa Redgrave and James Earl Jones, it Read more ...
hilary.whitney
The stage musical The Lion King has been seen by nearly 10 million people in the UK - almost 60 million worldwide – and Lord only knows how many must have seen Walt Disney’s animation. I have a friend who reckons he has seen it at least 26 times and a female acquaintance who firmly believes that curling up in front of the DVD is the cure-all for heartache – well, we can’t all write songs like Adele - but until recently, The Lion King had completely passed me by. I couldn’t even have hummed so much as a crotchet and a quaver of Elton John and Tim Rice's Oscar-winning song “Can You Feel the Read more ...
David Nice
"Whoring after the public taste" is how Ingmar Bergman described some rather funny hanky-panky in one of his most singular films. It's what showbusiness thrives on, and it's fine if done well. Yet a decade ago Trevor Nunn crowned the National Theatre's trio of keenly observed Rodgers and Hammerstein stagings with South Pacific characters of flesh and blood, as its creators had surely envisaged. Here, despite strong delivery of a string of hits and fluid, evocatively lit designs, Bartlett Sher's Lincoln Center Theater revival too often takes us back to the Broadway whorehouse.Admittedly the Read more ...
Matt Wolf
Alfred Uhry, now 74, may boast the greatest ratio of accolades to output of just about any American playwright, having copped two Tony Awards and a Pulitzer Prize across merely a handful of works and an Academy Award for the film version of his best-known play, Driving Miss Daisy; the movie itself won the Best Picture Oscar in 1989 and a further trophy for its beloved star, Jessica Tandy. This autumn, the era-spanning comedy-drama arrives back on the West End in the same starry version, headlined by Vanessa Redgrave and James Earl Jones, seen last year on Broadway. Immediately before that Read more ...
Jasper Rees
It was early in 1949. South Pacific, the follow-up to Rodgers and Hammerstein’s huge wartime hit Carousel, had entered the try-out phase before hitting New York. Late one night the production team were deep in one of those 11th-hour how-do-we-make-it-better meetings that always precede the launch of a new musical. Eventually the composer Richard Rodgers cut to the chase. “Fellas,” he said, “this show is perfect. Let’s go to bed.”For all its perfection, for all the familiarity of “I’m Gonna Wash That Man Right Outta My Hair” and “There’s Nothin’ Like a Dame”, only a few flocking to South Read more ...
Matt Wolf
"Drop that long face," we're urged during the end of the giddy Regent's Park revival of Crazy For You, and if ever there were a time for such sentiments, it came during the lockdown that London remained under during the all too aptly cloud-filled evening that saw the Open Air Theatre not quite full. Nor was it lost on many spectators that the glorious George and Ira Gershwin score was giddily filling a night air punctuated at regular intervals by the distant (or maybe not) sound of sirens.But Timothy Sheader's production exerts its own siren song that functions as an escapist tonic Read more ...
Matt Wolf
Broadway musicals can have a bumpy transatlantic crossing. For every New York entry that repeats its acclaim on the West End, others quickly fade, while still others never make it to the capital at all: consider The Light in the Piazza, which won six Tonys in 2005 but hasn't yet been seen in the UK south of Leicester. What, then, of Shrek, DreamWorks's entry into the Broadway musical sweepstakes that called it quits in New York after little more than a year? It's way too early to tell whether London will prove the show's salvation, but at least it boasts two Nigels who between them are not to Read more ...
Matt Wolf
Broadway may not be “just for gays any more”, as the event's unstoppably charming and funny compere Neil Patrick Harris noted in his song-and-dance opening to the 2011 Tony Awards, held last night in New York to honour that city's theatre season just gone. But it’s still very much about the Brits: some habits never die.The truism was borne out yet again at a ceremony that saw Mark Rylance pick up an additional Tony and the National Theatre’s War Horse win in every category (five) in which it was nominated, including Best Play and Best Director for Marianne Elliott and Tom Morris. For Read more ...
judith.flanders
Mark Twain once wrote of his experience of going to German opera. It starts at 6, he said, and they sing for four hours. Then you look at your watch, and it’s 6.15. This is also an all-too-accurate description of a night at English National Ballet’s Strictly Gershwin. Except that I began to look at my watch after 10 minutes.Old-fashioned ballroom sequins have Derek Deane fatally in thrallI can’t remember ever enjoying any theatrical experience less. The Albert Hall is not in any case a place for dance – dance in the round is a contradiction in terms, it simply means everyone has a bad seat. Read more ...
Matt Wolf
Surely, any film called Win Win and starring Paul Giamatti is being deeply ironic? After all, you don't expect the hangdog star of Sideways and Barney's Version to do the feel-good Hollywood thing, and it seems of a piece with Giamatti's baleful, ever-defeated demeanour that a scene of him jogging along should end with the actor coming to a panting halt.Life isn't easy in the Job-like landscape in which Giamatti has specialised on screen, to the degree that a clanking boiler beneath his Win Win character Mike Flaherty's New Jersey office begins to sound doomily apocalyptic. Even his six-year- Read more ...
Matt Wolf
That’s the question New York theatre folk are asking this morning, following the announcement of the 2011 Tony nominations, honouring the best of the Broadway theatre season just gone. Radcliffe was thought to be a dead cert for a nomination for his performance as the careerist window washer in the smash-hit revival of Frank Loesser’s How To Succeed in Business Without Really Trying, at the Al Hirschfeld Theatre. And there were many who thought Radcliffe would go on to win the trophy on 12 June, just as another visiting British film star, Catherine Zeta-Jones, did for her Broadway Read more ...
Graham Fuller
It’s difficult now to imagine Hollywood conceiving a one-two punch as ferocious as Elia Kazan’s A Face in the Crowd and Alexander Mackendrick’s Sweet Smell of Success, which were released a month apart in the summer of 1957. Their target was the absolute corruption of media figures who acquire untrammeled fame and power: Face’s coarse cracker-barrel philosopher “Lonesome” Rhodes (Andy Griffith), an ex-hobo who becomes a politically influential TV superstar; and Sweet Smell ’s monstrous Broadway gossip columnist J J Hunsecker (Burt Lancaster) whose Stalinesque sway has senators quaking Read more ...