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By David Grewcock Friday, October 2 2015, 13:53
Arriving for an extended run in London off the back of another hugely successful Edinburgh Festival stint, Showstopper! is a very welcome addition to the more familiar musical offerings on Shaftesbury Avenue.
The premise is delightfully simple: the cast and onstage band create a brand new musical from scratch every night. With suggestions fielded from a very enthusiastic audience, the cast are given a setting, combined with some existing show titles as reference points, and they’re off.
By Nastazja Domaradzka Friday, October 2 2015, 13:27
After last year’s highly acclaimed “Blue Stockings”, Jessica Swale returns to Shakespeare’s Globewith her new play “Nell Gwynn”, a story about an orange seller girl turned actress, who becomes the mistress of King Charles II. Not only is this an incredible piece of writing, but it also guarantees an evening full of entertainment, laughs and socio-political references; all of which suit The Globe’s ambience and architecture more than perfectly.
By Kit Benjamin Friday, October 2 2015, 10:57
The Barber Of Seville, by Rossini, is one of best known and best beloved of operas. It’s well known to the non opera-going public (because it has that famous “Figaro, Figaro!” aria in it), and is a staple of the repertoire of most major companies.
By Phil Willmott Wednesday, September 30 2015, 17:23
Shows like this, which feature the back catalogue of popular song writers either within a story or, as here, in a cabaret presentation, often surprise you with quite how many of their hits you know.
I think it's fair to say that the extraordinary range of songs co-written by lyricist and composer Leslie Bricusse over a glorious 60 year career won't be familiar to you unless you were around in the 1960's and 70's when it was hard to leave the house without a Bricusse hit slapping you in the face.
By Phil Willmott Wednesday, September 30 2015, 15:28
"Bleak" and "devastating" are two words you wouldn't expect to use describing a great evening's theatre yet the opening production of the English National Opera's (ENO) new season is all three of those things.
LADY MACBETH OF MTSENSK was written by the Russian composer Dmitri Shostakovich during the Stalin era and indeed the great dicator himself allegedly penned a front page newspaper editorial denouncing it as a decadent muddle and lamenting the lack of conventional tunes.
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