musicals
Marianka Swain
This well-meaning biographical jukebox musical about icons Gloria and Emilio Estefan, which did two years on Broadway and a US tour, is good summer scheduling, what with its Latin-pop bangers, infectious dance routines and “Dreams come true” messaging. Yet its awkward housing at the austere Coliseum exacerbates this 2015 work’s major flaw: reaching for profundity in a skin-deep, conflict-lite tale, instead of enjoying the party.Gloria (Christie Prades, reprising the role from the US tour) is a talented but shy songwriter. Her grandmother (Karen Mann) eagerly pushes her into the band – Read more ...
Matt Wolf
A Broadway show as melodically haunting and sophisticated as it is niche, The Light in the Piazza has taken its own bittersweet time getting to London. A separate European premiere in 2009 at Leicester's Curve Theatre whetted the local appetite for a show that won six Tony Awards in 2005 but is far from standard musical fare. And here it finally is in the capital, albeit for 20 performances only in a full production, directed by Daniel Evans within the unexpected confines of the Royal Festival Hall. The concert setting grants pole position to Adam Guettel's score and to the distinguished, if Read more ...
Saskia Baron
Rocketman opens with its hero in flamboyant stage costume stomping into a drab group therapy session. Pulling the sparkling horns off his magnificent head-dress and shuffling his feathered wings into a seat, Elton John demands of his fellow addicts, ‘How long is this going to take?’ The intimidated counsellor replies, ‘That’s really up to you’. But the answer for the audience is more precise – we’re about to watch two hours of misery memoir intercut with great songs. Rocketman is biopic as drama therapy; its star gets to tell us in detail how his late parents never loved him Read more ...
Tom Baily
Next up in Disney’s parade of live-action revamps is: yes, Aladdin. The other recent re-dos – Cinderella, Beauty and the Beast, Dumbo – just about managed to overcome the remake challenge: be faithful to an original that will remain definitive for audiences, whilst updating the material enough to obtain contemporary relevance. A re-jigged plot with fresh surprises is an added bonus. Aladdin, like the others, just about does the job.And so we return to fictional Agrabah and meet the city’s most wily young street urchin (and his even wilier pet monkey). It’s the archetypal rags-to-riches tale: Read more ...
Thomas H. Green
My Left Right Foot tiptoes right to the precipice of massive offense. For some, it tumbles right in. During the interval audience members can be heard tutting at the amount of times “the c-word” is casually thrown around. But it’s not just the swearing. The play makes mayhem over our awkwardness around disability while also ruthlessly sending up institutionalised inclusivity. Much of the humour derives from crossing lines not usually crossed.The action takes place in a municipal hall, with the set detailed and realistic, blandly grubby, right down to the ancient radiator and cork board of Read more ...
Lisa-Marie Ferla
“I hope you’re not only Wolverine fans or this is going to be a long night,” a grinning Hugh Jackman tells a screaming Glasgow crowd. The line – delivered in front of a giant screen on which Jackman, adamantium claws extended, is climbing out of a river with his shirt off – sums up a particular curiosity about the actor known to many as the Greatest Showman: how did an award-winning musical theatre actor end up playing a comic book mutant?There’s actually an answer of sorts in Jackman’s new one-man show, which kicked off an extensive world tour with three nights in Glasgow – as well as a Read more ...
Thomas H. Green
Five years ago this Kneehigh Theatre production caused a stir with its vibrant modern retelling of John Gay’s 18th century satirical classic, The Beggar’s Opera. It’s currently on tour again and it’s easy to see why a revival was greenlit. It’s a bawdy story of political corruption with no sweet ending, not, in fact, that far from popular boxset dramas such as The Wire or Broadwalk Empire, but with a whole lot more silliness and songs.Set in a grimy, dream version of post-World War II austerity (there’s a running joke about the exoticism of bananas), the plot centres on super-criminal Read more ...
Marianka Swain
English National Opera continues its run of semi-staged musicals, in commercial collaboration with Grade Linnit, with a revival of this vintage oddity. Mind, commercial might be a stretch, as Dale Wasserman, Joe Darion and Mitch Leigh's 1965 work – it quickly transpires – is a tough sell, particularly in a quixotically cast revival that struggles to find a coherent tone. Loosely inspired by Don Quixote, the densely layered musical sees author Miguel de Cervantes (Kelsey Grammer) awaiting trial by the Spanish Inquisition. When put on trial by his fellow prisoners as well, with his Read more ...
Marianka Swain
The joint is jumpin’ at Southwark Playhouse, now hosting an irresistible Fats Waller-inspired, Manhattan-set musical revue (a co-production with Colchester’s Mercury Theatre, where it opened last month). Though originating in the Seventies, this sizzling show benefits from a fresh infusion of talent, with actor Tyrone Huntley making his directorial debut, and Strictly Come Dancing pro Oti Mabuse making hers as a musical theatre choreographer.Murray Horwitz and Richard Maltby, Jr. supply the book, but this early jukebox musical is blessedly free of a story awkwardly pegged to existing Read more ...
Marianka Swain
For her swansong, departing Donmar Artistic Director Josie Rourke goes Swinging Sixties in this stylish but flawed revival of the Cy Coleman, Dorothy Fields and Neil Simon musical. From the numerous Andy Warhol homages to Charity’s silver minidress and the cigarette haze, it’s a period dream, but the production shimmers more than it grips.Anne-Marie Duff stars as the eternally hopeful New York taxi dancer, making a pittance at her “temporary job” at the Fandango Ballroom; she’s been there eight years. Too quick to trust, Charity has been let down by numerous boyfriends, but she finds a real Read more ...
Rachel Halliburton
In an age where political, social, and gender norms seem to be in perpetual meltdown, it should be pretty much impossible for a musical that begins with a song celebrating ‘Tradition’ to strike a chord. Yet from the moment that the cast of Trevor Nunn’s foot-stompingly fist-wavingly triumphant Fiddler on the Roof launches into the opening number, it’s clear that they have the energy and chutzpah to whip up an emotional storm.The musical – the latest West End transfer from production powerhouse, the Menier Chocolate Factory - is famously based on Sholem Aleichem’s stories about a Jewish Read more ...
David Kettle
“Cult” is probably an over-used adjective, especially when it comes to movies. But there’s undoubtedly something truly special about Bill Forsyth’s 1983 film – about a Texan oil executive on a mission to buy up a section of the Scottish coast for a vast new refinery, only to end up falling in love with the place – that makes it so warmly cherished by certain viewers.Maybe it’s Local Hero’s disarming mix of laid-back whimsy and harder drama, its unapologetic sentimentality, its surreal eccentricity, its gentle humour. Or maybe it’s the movie’s ironic role-reversal, as villagers grow impatient Read more ...