“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 … Continue reading
There’s a welcome alternative to panto hijinks in this gem of a Trevor Nunn musical revival – more attuned to the biting hardships of winter, and to the elegiac aspect of change, than to festive jollies. Which is not to say that there … Continue reading
The most thrilling revivals reinvigorate a classic work, while revealing its fundamental soul anew. Marianne Elliott’s female-led, 21st-century take on George Furth and Stephen Sondheim’s 1970 musical company Company makes a bold, inventive statement, but somehow also suggests this is how the … Continue reading
The resplendent partnership of Alan Menken and Howard Ashman – which produced Disney hits Aladdin, Beauty and the Beast and The Little Mermaid – first took root with this 1982 Off-Broadway musical, based on a low-budget Sixties film, about a man seeking love and fortune via a … Continue reading
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 – … Continue reading
The actress discusses her role in the new musical version of An Officer and a Gentleman. Read my full BroadwayWorld interview here
That this 1948 Tennessee Williams play is rarely performed seems nothing short of a travesty, thanks to the awe-inspiring case made for it by Rebecca Frecknall’s exquisite Almeida production. Aided by the skyrocketing Patsy Ferran, it also makes a case for director Frecknall as … Continue reading
“It just seems to be a thing that we do, this incomprehensible violence thing.” So says the narrator of Dennis Kelly’s new one-woman play, performed in a staggering tour-de-force from Carey Mulligan. She’s been reflecting on an American mass shooting … Continue reading
Pulitzer-winning American playwright Annie Baker returns to the National – where The Flick was a quiet triumph in 2016 – with another work that is epic in form (three hours and change), but similarly spellbinding in its ability to draw an audience close. Though … Continue reading
We’re back in the world of ration books, blackouts and spam fritters, as Nicholas Wright delves into the home front via his adaptation of Patrick Hamilton’s 1947 novel. Though there’s a certain period chintz about Jonathan Kent’s production, darker undercurrents make this a more … Continue reading
