Gendered power dynamics, the commodification of art, and abuse in the creative industries: Joe Penhall’s new play certainly feels of the moment, and there’s a particular frisson in seeing such subject matter explored at the Old Vic, which is dealing with the legacy of Kevin Spacey. Yet a potent topic remains stubbornly discursive in this rather circular piece.
Read my full BroadwayWorld review here
Chess, by Tim Rice and ABBA’s Benny Andersson and Björn Ulvaeus, hasn’t had a major West End revival since its Eighties heyday, but it’s back with a bang in a semi-staged production that features aerial silk acrobatics, cheerleading stunts and drunken Cossack dancing. But it’s the work that really shines through: period, yes, and distinctly unwieldy, but oddly timely too – and not just because ABBA are reuniting.
From meaty revivals to the open-air theatres opening their doors.
On my April MoveTo Town and Country Arts page:
The original version of Rodney Ackland’s provocative work, The Pink Room, had a bruising reception back in 1952, losing thousands for investor Terence Rattigan amidst furious reviews. Since salvaged by the Orange Tree in the Eighties, its rebirth was cemented by a Judi Dench-starring production at the National, where it now returns for an intriguing if not entirely convincing encore.
The creator and stars discuss the stage musical version of Strictly Ballroom.
Actress Adrienne Warren discusses playing Tina Turner in new West End musical Tina.
Love is in the air, and revolution too. Baz Luhrmann’s beloved 1992 film (originally a student play, now back on stage as a musical) is even more adamantly anti-establishment in this latest incarnation, opening out a delicious satire of 1980s Australian competitive ballroom into a more universal story of the fight for fearless self-expression. In short: “Love, freedom and sequins”.
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.
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.
