musicals
Sam Marlowe
“Are you aware that we’re making history?” demands Alexander Hamilton in the show that has finally made the lesser-known Founding Father an international household name. And whether its creator, Lin-Manuel Miranda, knew it when he wrote that line or not, making history is, indeed, what Hamilton is doing. The acclaim has been pretty much universal, the hype inescapable: 11 Tonys, a Grammy and a Pulitzer; celebrity fandom, and tickets as white-hot as they are hard to get your hands on. Now Thomas Kail’s production opens in London, and we are so ready: we’ve read numerous interviews and earnest Read more ...
Matt Wolf
These are challenging times for new British musicals. Following quickly on from a Pinocchio that ought to be way more joyful than it is, along comes The Grinning Man, a Victor Hugo-inspired musical first seen in autumn 2016 in Bristol. Sharing with its immediate predecessor a thematic interest in the transformative value of pain, Tom Morris's production is a visual delight that needs considerable streamlining and strengthening of tone if it is to amount to more than the musical theatre catch-all that it would seem to be at present.Its literary antecedent (Hugo's 1869 novel L'Homme qui rit) Read more ...
David Benedict
From Nicholas Hytner and Alan Bennett’s wonderfully nostalgic version of The Wind in the Willows through Coram Boy, the international smash hit War Horse and beyond, the National Theatre has a startling track record in turning what used to be patronisingly regarded as “family shows” into first-rate theatre. But for most of the first act of Pinocchio, the latest entry in the National’s Christmas Hits stakes, it looks as if there’s nothing worse than great expectations. Despite entrancing visuals, the uninvolving storytelling is as wooden as its central character. Mercifully, however, once Read more ...
Veronica Lee
You have to hand it to Menier Chocolate Factory, a venue that doesn't let size matter as it stages an all-singing, all-dancing new production of Barnum, a musical about Phineas Taylor (PT) Barnum – the 19th-century showman famed for staging “The Greatest Show on Earth”. Director Gordon Greenberg stages a big, blowsy spectacle in this small theatre, in the round, and its cast of 18 pack a real punch.Barnum (music by Cy Coleman, book by Mark Bramble, lyrics by Michael Stewart), was a hit on Broadway in 1980 and ran for more than 850 performances, before coming to the London Palladium in 1981, Read more ...
Jasper Rees
The Woman in White insists on being told and retold. Wilkie Collins’s much loved thriller is perhaps the most widely and frequently adapted of all the great Victorian novels. In Marian Halcombe it has a resourceful heroine whose appeal doesn't rest remotely in her looks, and in Count Fosco with his menagerie of sinister pets it has an impeccably flavoursome villain. No wonder the BBC is unleashing yet another television version, while the Charing Cross Theatre has revived Andrew Lloyd Webber’s 2004 musical in a newly stripped-down version.A first theatrical version found its way onto the Read more ...
Marianka Swain
Everybody’s been talking about Everybody’s Talking About Jamie since its Sheffield Crucible debut earlier this year. It’s unusual to see a musical come steaming into the West End based on word on mouth – not star casting, or association with an existing franchise. Instead, inspired by humble BBC Three documentary Jamie: Drag Queen at 16, Jonathan Butterell’s production is, in every sense of the word, refreshing: a genuine homegrown hit.Jamie New (John McCrea, pictured below right by Johan Persson) has decided he wants to become a drag queen, and to make his grand debut by wearing a dress to Read more ...
Owen Richards
During the 19th century, Tiger Bay in Cardiff was the beating heart of the Industrial Revolution and the most multicultural area in Britain. Visit today and the only signs remaining are the odd gothic buildings that sit between Doctor Who exhibitions and Nandos. The Wales Millennium Centre looks to remind Wales of its history with the debut of an original production, appropriately titled Tiger Bay.Racial and class divides come to the forefront in this large-scale musical. Themba Sibeko (Dom Hartley-Harris) is a recent arrival to Tiger Bay, who just wants to work the docks and forget his past Read more ...
Tom MacRae
I’d always wanted to write a musical, but I didn’t start actually trying until four years ago. Now four years on, my first show, Everybody’s Talking About Jamie, is about to hit the West End – that’s four years to go from no show, no idea and no experience to opening at the Apollo Theatre. It’s utterly crazy, I still can’t believe it – and this is how it happened...Chance meetings made everything possible. The first was between me and Dan Gillespie Sells, my songwriting partner, when we met on a gay rights march in Piccadilly. Like me, he’d always wanted to write a musical, but had Read more ...
Peter Quantrill
It’s all a bit Dairy Milk. That was, to wrap it in purple foil, the critical reaction to Les émotifs anonymes when it was released in 2011. Not in the UK, though, where Jean-Pierre Améris’s romantic comedy never made it to cinemas. Lack of local familiarity has given creative licence to Emma Rice, who with her departing production as artistic director has presented audiences at Shakespeare’s Globe not with a Hamlet or a Henry but the theatrical equivalent of a chocolate soufflé.The tale of two pathologically anxious introverts does not present the most likely basis for a musical. Jean-René Read more ...
Katie Colombus
With mentions of Theresa May, cricket jumpers and DMs, Trump slurs and a host of characters with Northern accents, The Old Vic's return version of Dr Seuss' The Lorax, proves itself to be poles apart from the recent, popular Universal Pictures movie.There are no zany Hollywood tricks here – no reliance on anything other than a strong cast, oodles of imagination and the artistic licence allowed by Dr Seuss that creates a cacophany of colours, sound and kooky characters. The entire script is spoken in rhyme; big song numbers burst out of the poetic verse, and dance steps lurk just Read more ...
Matt Wolf
What a difference an ocean and a change of scale can make. When I saw the Mel Brooks musical Young Frankenstein on Broadway a decade ago, the show seemed to take its cue from the lumbering monster contained within it, who stutters and sputters before eventually being kickstarted into something resembling life. All involved have since been back to the laboratory, and the happy news is that its West End iteration is a thing of joy. For once, I really did laugh until I cried, not least in amazement that so unapologetically bawdy, lowdown a romp has somewhere along the way acquired a heart. Read more ...
David Nice
Of Sondheim’s half-dozen masterpieces, Follies is the one which sets the bar impossibly high, both for its four principals and in its typically unorthodox dramatic structure. The one-hit showstoppers from within a glittering ensemble come thick and fast in the first half – stop the show they certainly did last night – and it’s hard not to miss all that when the camera zooms in exclusively on the quarrelling quartet. Dominic Cooke’s less-is-more National Theatre production, full of subtle touches, finds a better solution than any to the nominally climactic “Loveland” sequence and wisely Read more ...