When comparing London and New York theatre most critics agree that exciting new drama tends to be developed in London while New York is the town for innovation in musical theatre. It is therefore with huge excitement that I report that OSLO, at Lincoln Centre’s intimate Mitzi Newhouse space, is one of the finest new plays I have seen in years. Already a sold out smash in its limited run this summer, Lincoln Centre has announced that the show is transferring to its larger, Broadway venue, the Vivian Beaumont later in the year. No doubt this wonderfully theatrical and thought provoking production will be making its way to London soon.
What's up in Broadway? Here is some news about shows that may - or may not - transfer to the West End.
Review: OSLO at the Mitzi Newhouse Theater (Lincoln Centre), Broadway
By Davor Golub Friday, September 9 2016, 13:42
HAMILTON at the Richard Rodgers Theatre, Broadway
By Davor Golub Thursday, September 1 2016, 14:11
How does one even attempt to review HAMILTON? In the United States the show has become a theatrical phenomenon unlike any I have experienced in my forty years of theatergoing. It has won 11 Tony Awards including Best Musical, the Pulitzer Prize, has hundreds of teens attending its weekly Ham4Ham concert outside the theatre’s stage door and can command thousands of dollars per ticket for a prime orchestra seat.
THE HUMANS at the Gerald Schoenfeld Theatre (Broadway)
By Davor Golub Thursday, August 25 2016, 09:57
The dysfunctional family drama has long been an important part of the American theatrical canon. Classics such as A LONG DAY’S JOURNEY INTO NIGHT, THE GLASS MENAGERIE and DEATH OF A SALESMAN have all managed to illuminate specific family dynamics while at the same time revealing the dark side of the American Dream.
By Phil Willmott Thursday, April 30 2015, 08:01
This is a show about two theatre incompetents, one a hard boiled cynic, the other a sweet innocent as they wrestle to compete with Shakespeare’s productions in a Monty Python-like version of Elizabethan England. The piece is a homage to and love song for musical theatre, an art form it relentlessly and lovingly pastiches throughout.
By Phil Willmott Wednesday, April 29 2015, 09:53
Lots of Gary Barlow's score for this musical about how J.M Barrie came to write PETER PAN sounds like vintage Take That. I mean a lot. Not necessarily a bad thing, personally I like a bit of late 90s boy band but it's quite disconcerting when the pop, drum beats suddenly kick in amidst the Edwardian frocks.
It’s impossible to believe Matthew Morrison’s (Mr Shue from TV’s Glee) has the mischievous mercurial mind and energy of Barrie, the role played by Johnnie Depp in the film version of the same name but he's a great singer and as handsome as you’d expect.
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