Back by feverishly popular demand, Jim Steinman’s mega-musical is no longer in danger of alarming unsuspecting operagoers. A year on from its Coliseum debut, this indisputably bonkers show moves to the West End venue it was surely always destined for – that lingeringly inhabited by its rock operatic forebear. The Queen is dead; long live the Loaf.
Read my full theartsdesk review here
Chicago‘s hit West End revival - which featured a constant revolving door of big names – closed in 2012 after almost 15 years. Now, it returns with the requisite stunt casting (Cuba Gooding Jr), but also with a cast of triple-threat stalwarts who illustrate the enduring strengths of this whip-smart, black-hearted musical.
It is, perhaps, a tale that suffers from overfamiliarity. Tina Turner’s rags-to-riches story – from humble beginnings as little Anna Mae Bullock in Nutbush, Tennessee, to her discovery, reinvention and sickening abuse by husband and manager Ike Turner, and finally her rebirth as a solo rock’n’roll star – is the stuff of showbiz legend. This new glossy but pedestrian West End musical adds little to the established narrative.
The actress discusses her role in the new musical version of An Officer and a Gentleman.
From a buzzy new musical to returning favourites.
The designer and NT Live broadcast director on, respectively, creating Julius Caesar at the Bridge Theatre and translating it to screen.
Three smart travellers share their wisdom: for the stylish, tech-savvy and intellectually curious.
The actor discusses his role in the West End production of Strictly Ballroom The Musical.
The actor discusses his role in Mike Bartlett’s TV drama Trauma.
On my March MoveTo Town and Country Arts page:
