This 1982 cult musical has always been a potty favourite: hapless florist Seymour cultivates an alien plant with an appetite for human flesh – a Faustian pact that wins him fame, fortune and Audrey, the girl of his dreams. Continue reading “Review: Little Shop of Horrors, Regent’s Park Open Air Theatre”
It may not open till next month, but the first release of tickets for Stephen Sondheim’s Follies at the National Theatre are already entirely sold out. However thousands more are on sale today from 8.30am, at the same time as a first-look photograph of the cast is unveiled.
The level of love for the musical has surprised its star, Imelda Staunton – but then, it hasn’t had a full staging in London since 1987. The story of the Weismann Follies’ vaudeville showgirls, who return to the theatre they performed in 30 years previously, features standards such as ‘Losing My Mind and ‘I’m Still Here’, and garners serious devotion among Sondheim fans.
You’d have to have a heart dry as an old sunflower seed not to moved by Gary Barlow and Tim Firth’s musical version of The Calendar Girls. Based on the – by now very familiar – story of a Yorkshire WI group who posed for a nude calendar to raise money after the husband of one of their members, Annie, died of cancer, the musical follows the hit film and play of the story (both also by Firth). But it proves a tale that still has the capacity to raise a smile – as well as funds for Bloodwise, a cancer charity. Continue reading “Review: The Girls, Phoenix Theatre”
Cancer. It’s not an obvious subject to make an actual song and dance about. But that’s what performance artist Bryony Kimmings has done, writing her first ever musical on the subject. Continue reading “How do you make a musical about cancer?”
This semi-staged production is the second musical-in-an-opera-house collaboration between ENO and the GradeLinnit Company, following Sweeney Todd last year; this time, it’s star-powered by Glenn Close. She’s making her West End debut as Norma Desmond, the faded, reclusive star of the silent screen who enlists a screenwriter named Joe (Michael Xavier) to work on her come-back project, a movie of Salome. Continue reading “Review: Sunset Boulevard, London Coliseum”
“If there’s anything worse than a staunch woman … S-T-A-U-N-C-H – there’s nothing worse, I’m telling you. They don’t weaken. No matter what. ” So said “Little Edie” Beale in the 1975 documentary Grey Gardens – but generations of viewers have not agreed with her, taking this staunch woman fully to their hearts. So much so that it spawned a hit musical. Continue reading “Grey Gardens: how a hit musical adapts the cult 1975 documentary”
Only the imagination of Gruff Rhys could have come up with this singular show. He expands his 2007 album Candylion into a psychedelic fable – for all the family! Billed by National Theatre Wales as a “theatre gig”, live music propels the story, with the audience standing or moving about the space. Continue reading “Review: The Insatiable, Inflatable Candylion, SSE Swalec Stadum”
At no other time of the year are family-friendly shows more welcome than at Christmas. Yet it’s also often a time of boringly traditional, bankable fare. Panto reigns and theatre can tend towards the literary, twee and old-fashioned: Dickensian orphans in the faux snow, endless visits to Narnia and Neverland. This year, however, there’s a sleigh-full of alternative shows hurtling down a distinctly psychedelic rabbit hole. Continue reading “Why Christmas shows are going down a psychedelic rabbit hole”
Cats is back – again – with a new leading feline: Beverley Knight. Billing her as the “queen of British soul” might be overselling it, but the pop singer has successfully carved a new career for herself in big-budget musicals: she starred in The Bodyguard and then in Memphis. But can her performance as Grizabella live up to the memory of previous star-turns in Andrew Lloyd Webber’s classic musical? Continue reading “Review: Cats, London Palladium”
It may be the latest musical to open in the West End, but Dusty is already a little, well, dusty: it’s been playing in previews since May. Ominously, several directors, choreographers, and cast members have come and gone already. The positive spin on this is that it’s already exceeded its initial run; some people had to scoot for prior commitments. But, having seen this woefully misguided show, I’d bet they had other reasons for scrabbling for their contracts to see how soon they could leave… Continue reading “Review: Dusty, Charing Cross Theatre”