From a hit Canadian musical to showbiz satire and a classic sitcom reborn.
Read my full BroadwayWorld article here
Hampstead hosts the UK premiere of Polish-American playwright Martyna Majok’s 2018 Pulitzer Prize-winning work, which explores – with thoughtful tenderness and a refreshing lack of schmaltz – the relationships between two people with disabilities and their carers.
Step away from the returns queue. The rare presence of Hollywood star Cate Blanchett on a London stage has caused a box office frenzy, but sadly this would-be provocative vehicle – Martin Crimp’s loose variations on Samuel Richardson’s 1740 proto-novel Pamela, directed by Katie Mitchell – isn’t worthy of her talents, nor those of the excellent Stephen Dillane.
Welcome to the new and improved double MoveTo Town and Country Arts section! January highlights include:
Following Caroline, or Change and Fun Home, the UK is blessed with another work from American composer Jeanine Tesori – this the British premiere of her 1997 musical Violet, which had a Sutton Foster-starring Broadway production in 2014. If not as refined as that exquisite duo, it’s still a compelling piece, thanks to a ravishing score and a dynamite central performance.
“Love Changes Everything”, as immortalised by Michael Ball, is the most enduring feature of Andrew Lloyd Webber, Don Black and Charles Hart’s 1989 musical – a moderate West End success, and a Broadway flop. Jonathan O’Boyle’s production, seen last year at Manchester’s Hope Mill Theatre, follows the trend for stripping back big shows to get at the heart of them; a good tactic on the whole, though challenged by a work that’s ultimately more interested in dissecting love than sharing it.
Jamie Lloyd’s star-studded season of short Pinter plays continues with two more intriguing productions: one directed by Patrick Marber, the other by Lloyd himself. Among the subjects this time around are family, miscommunication, class and politics – plus an early bid for the most memorable wigs of 2019.
From a reborn Andrew Lloyd Webber to Cate Blanchett’s UK stage debut.
Another year, another bloated final that winds up being totally irrelevant to the results. At some point, Strictly bosses might need to look into that… For my money, of the last four, Ashley was the strongest dancer, Joe the most improved, Faye the best on the night, and Kevin, I mean Stacey, won. Err, yay?
Why do Strictly viewers hate Ashley Roberts?
Read my full Telegraph article here