Musical Theatre Review reflects on another stunning and diverse year of theatre. Here is a round-up of five star reviews from 2019 productions in the West End, on the London Fringe, in the regions and on tour (plus a sprinkling of Broadway openings too). With thanks to all our awesome contributors.
JANUARY 2019
Songs For Nobodies – Ambassadors Theatre, London
‘I cannot envisage any musical theatre performer who could pull off the monologues and the changes of vocal style so adeptly, added to which the very real acting talent of Bernadette Robinson makes this a funny and emotionally moving evening.’
The Cher Show – Neil Simon Theatre, New York
‘With an abundance of jaw-dropping costumes, loads of powerful pop-cum-Broadway belting and a pulsating, smartly integrated – even though it’s jukebox – score, The Cher Show makes for a terrifically entertaining epic bio-musical – and a meaningful feminist doctrine as well.’
Guys and Dolls – The Mill at Sonning
‘A stellar cast, reduced but without compromise to fit on the Mill’s bijou stage, packs a punch worthy of a larger-scale production… The production was indeed worthy of the audience’s standing ovation, a sight rarely seen in these parts of theatre-going suburbia and justifiably warrants a five-star rating.’
Les Misérables – Edinburgh Festival Theatre & Touring
‘The beauty of the re-staging of this beloved classic piece of musical theatre is conveyed through its simplicity. Losing the revolving stage and scenic trickery, this production focuses in on the characters and relationships far more keenly… This energised Les Misérables ensures that this show will have another 25 years and more to come.’
FEBRUARY
Leave To Remain – Lyric Theatre, Hammersmith, London
‘Thrillingly directed, staged and choreographed by Robby Graham, it begins with pounding electronic music as a background to the central characters’ initial meeting, almost like a film soundtrack, but explodes into song to enhance the emotion and punctuate the unfolding story.’
A Super Happy Story (About Feeling Super Sad) – Vault Festival & Touring
‘Olivier Award winning Jon Brittain’s script is modern and refreshing, utilising humour to help an ever changing audience to understand the complicated nature of a misunderstood disease. Its power is enhanced by Matthew Floyd Jones’ simple and effective score, and Alex Mitchell’s minimal and specific directing choices.’
Picture: Roy Tan
Come From Away – Phoenix Theatre, London
‘Come From Away is a celebration of the healing power of doing good deeds without hesitation. Eighteen years on from the events that inspired it, it feels like a story we need more than ever.’
Zog – Rose Theatre, Kingston and Touring
‘Watching Julia Donaldson’s Zog lovingly interpreted on stage with colour, flair and talent, and a handful of new tuneful songs woven into the mix, its effect on young children, all in its thrall, was plain to see on its world premiere at the Rose Kingston.’
Follies – National Theatre. London
‘Back less than 14 months after the final curtain fell on the award-winning 2017 revival, Follies 2019 picks up where Dominic Cooke’s dazzling production left off and is every bit as good and, if anything, even sharper… Director Dominic Cooke’s sumptuous rebirth takes off from the moment the orchestra strikes up ‘Beautiful Girls’ and never lets up.’
Kiss Me Quickstep – Queen’s Theatre, Hornchurch, New Wolsey, Ipswich
‘In 2012 Amanda Whittington was awarded the Making Tracks bursary to research a new piece of work and where did she head? Blackpool… for its annual dance festival. This, along with being a fan of Strictly Come Dancing, was the main influence for this tale of star-studded sequins and fabulous frocks… It’s as if the theatre has forgotten to put up a curtain and the audience is peering into the rooms backstage. The cast perform so smoothly it just feels ’
Merrily We Roll Along – Laura Pels Theatre, New York
‘The show once again proves its brilliance, with Sondheim’s ear- and soul-filling score and the poignancy of its intention overcoming whatever clunky defects remain in its unconventional storytelling… Fiasco’s serving of Merrily may not be the ultimate redo of this show that seems to be ever in flux (will there ever be a definitive version?), but it’s certainly one to cherish.’
The Pirates of Penzance – Wilton’s Music Hall, London
‘This revival of Sasha Regan’s 2010 all male Pirates of Penzance is fabulous. By turns wry, silly, poignant and hilarious it camps up WS Gilbert’s 1879 words with such panache that it’s all as deliciously fresh as if written yesterday.’
MARCH
Zorba – Performance Preparation Academy, Eve Lyons Theatre, Guildford
‘What a find Zorba is! Kander and Ebb’s 1968 musical – more a play with music – never made it to the West End and had been gathering dust until PPA’s third-year students have done it proud at their cosy in-house theatre in Guildford.’
Fiddler on the Roof (in Yiddish) – Stage 42, New York
‘The production is top-notch in all respects. It has been directed by Broadway icon Joel Grey with a deep appreciation of the emotional wallop of Joseph Stein’s just-about perfect book, based on characters created by Sholem Aleichem, its celebration of tradition and family and community bonds, as well as its musical theatre pizzazz.’
SIX – Arts Theatre, London
‘Toby Marlow and Lucy Moss’ inventive re-imagining of Henry VIII’s wives as a pop sextet showed what it was capable of during a brief run in the same venue early in 2018. Since then, its creators and producers have taken the show, given it some polish, and returned it even more dazzlingly, precociously brilliant than before.’
Romance Romance – Above The Stag Theatre, London
‘Romance Romance was a musical I was aware of, but had never encountered. To do so in this production has been a very great pleasure. I can pay it no greater compliment than to say I’d happily watch it all over again. And to say, whatever else you see, don’t miss it.’
Kiss Me, Kate – Roundabout Theatre Company’s Studio 54, New York
‘The not-for-profit Roundabout Theatre Company has mounted a new Broadway redo, and in a word, it’s smashing… this revival of Kiss Me, Kate is, as the song says, ‘truly wunderbar’.’
Be More Chill – Lyceum Theatre, New York
‘Admire the fluidity of Stephen Brackett’s staging, seamlessly weaving in the infectiousness goofiness of Chase Brock’s choreography, and the theatrical validity composer and lyricist Joe Iconis has brought to his pop-rock score, revealing and heightening character as well as providing beat.’
Local Hero – Royal Lyceum Theatre, Edinburgh
‘Joy lives in the heart of this show – it’s delightfully infectious creating that ‘feel-good’ atmosphere in every beat…This show lives up to its promise in every measure possible. The finale, ‘Going Home’, brings the audience to its feet, yelling pleasure and congratulation. Heartfelt and perfect – this deserves to run and run. Hope there’s a cast recording in the works!’
Ain’t Too Proud – The Life and Times of The Temptations– Imperial Theatre, New York
‘This recounting of the quintet’s climb to the top of the pop music world and the backstage drama that accompanied it is not just well-tooled entertainment, it’s a brilliantly-tooled entertainment, bursting with explosive onstage talent, fortified with Olympian stamina.’
The Cradle Will Rock – Classic Stage Company, New York
‘This Off-Broadway revival by Classic Stage Company, directed by John Doyle, its artistic director, is triumphantly alive, with its 10-member ensemble bringing passion, immediacy and theatrical acuity to the script’s thesis, its music and sardonic, bitter humour… What Doyle and company succeed in doing is making it thrillingly relevant.’
APRIL
Amelie the Musical – Watermill Theatre, Bagnor and Touring
‘It takes a cast and production team of excellence to turn such a story into a truly miraculous piece of theatre and, as always, the Watermill is more than up to the challenge. On the small stage of this quaint little theatre the Watermill often defies the odds, staging its productions with resourceful inspiration, but on this occasion Madeleine Girling exceeds expectations to an astonishing degree with a design that has to be seen to be truly appreciated.’
Lend Me A Tenor – London School of Musical Theatre, Bridewell Theatre, London
‘This is one of the best student productions I have ever seen. It is very funny indeed – these talented young actors have learned how to work every nuance and innuendo – and there are several singers in this company who would (and probably will) grace any opera house.’
Picture: Matthew Murphy
Hadestown – Walter Kerr Theatre, New York
‘The score skips with constant surprise from the invigorating rhythms of Dixieland, Creole and Cajun (the set, too, has a New Orleans flavour), to ear-caressing ballads, contemporary folk and strains of soul-piercing, almost liturgical character. It’s music that’s alternately seductive, mesmerising and exhilarating, adjectives that, of course, describe the entire Hadestown experience.’
MAY
The King and I – Opera House, Manchester & Touring
‘From the breath-taking opening scene (credit to set designer Michael Yeargan), as you view Annalene Beechey’s Anna and her young son Louis (Lewis Fernée) arriving on the Chow Phya boat into the docks of Bangkok, back lit with the bright red sky behind them, you can see why this Lincoln Center production, directed by Bartlett Sher, has won rave reviews from Broadway to the West End, and now starting the UK tour in Manchester.’
Grand Hotel – London School of Musical Theatre, Bridewell Theatre, London
‘You could transport this exceptional LSMT student production of Grand Hotel a mile up the road to any West End theatre, charge three times as much for a ticket, and anybody lucky enough to get in would still have a bargain… jaw-droppingly good. From every angle – singing, dancing, acting, directing, set, outfits, choreography, musicianship – it is an absolute marvel of a show.’
Tootsie – Marquis Theatre, New York
‘Under Scott Ellis’ sure-footed direction, embellished with Denis Jones’ snappy choreography, the show moves forward with the confidence of an old-school Broadway musical comedy, one that knows it’s going to make at least most of its audience happy. And for extra punch, the dialogue is occasionally peppered with a sprinkling of #MeToo era sensitivities.’
The Hired Man – Queen’s Theatre, Hornchurch & Touring
‘Described by (Howard) Goodall as ‘a serious musical about ordinary people… who are poor and whose lives have real ups and downs’, The Hired Man is a milestone in British musical theatre. If you go and see one show this year, I would highly recommend this one. It’s a West End standard production of an unconventional musical right on our doorstep.’
Armour – Charing Cross Theatre, London
‘I think (writer Michel Legrand) would be delighted today to see what magic has been created here with this remarkable production. This truly is a show lovingly created for our times. In dark moments, we all need to escape the walls of the real world. Amour offers us this and so much more. Take a chance and dare to cross over and join them.’
Guys and Dolls – Theatre Marigny, Paris
‘For some of the most fabulous dancing and scintillating Runyonesque dialogue you could wish for, this production takes some beating. Stephen Mear directs and choreographs the show superbly, with the ensemble scenes in the Hot Box club and Havana along with the frenetic tableau of ‘Sit Down, You’re Rockin’ the Boat’ finale outstanding. They even had the audience clapping along.’
Little Shop of Horrors – Storyhouse Theatre, Chester
‘The entire ensemble has been skilfully cast and all deliver immaculate vocals along with their sharp dance moves…The story might well be kitsch schlock-horror, but with so much attention to detail it makes for a first-class evening’s entertainment that sends its audiences home wearing huge smiles.’
The Curious Case of Benjamin Button: A New Celtic Musical – Southwark Playhouse, London
‘This gorgeous new piece of British writing is a must-see – a magical, heart-rending show that will renew your faith in the power of musical theatre to whisk you away on an amazing journey through time and space. Do not miss it.’
Picture: Matthew Murphy
Les Misérables – Milton Keynes Theatre and Touring
‘Although the entire ensemble was worthy of the standing ovation received at the end of the show, stand-out performances from Killian Donnelly as Jean Valjean, Katie Hall as Fantine and Joseph Sheppard as Gavroche are particularly noteworthy of praise. Their solo parts are executed to perfection… This flawless show is worth every penny spent on a ticket and could be watched again and again – make sure it is one that you see.’
Octet – The Pershing Square Signature Center, New York
‘Along with its message, it’s a stunning piece of musical artistry. Described as “a chamber choir musical”, the show is sung a cappella – and gloriously so – by the eight-person cast. There are some hand-held rhythm instruments and other percussive effects, and the cast tunes in on pitch pipes. But mostly, it’s the human voice that – in (Dave) Malloy’s superb vocal arrangements – provide sounds that could well rival Beethoven at full symphonic fervour.’
JUNE
The Book of Mormon – Palace Theatre, Manchester
‘The show has lost none of its initial shine and with production values equalling those in the West End, the result makes for a genuinely funny and gloriously entertaining night… Packed full of jokes in both the book and lyrics, if you like your humour dark, cheeky and irreverent then The Book of Mormon is likely to be the funniest two hours you will spend in a theatre this summer. This is a slick, polished and hugely entertaining production that looks completely at home in the Palace Theatre.’
A Strange Loop – Playwrights Horizons, New York
‘(Michael R.) Jackson has created a musical that in extraordinarily courageous fashion pulls us deep into another person’s soul, broadening our understanding of the complexities of others as well as ourselves, always a worthwhile reward for a little less than two hours spent in the theatre. And when it’s done with exciting music as well, it’s especially rewarding.’
The Wild Party – Royal Academy of Music, Susie Sainsbury Theatre, London
‘Although I hated The Wild Party, such was the brilliance of the direction (Hannah Chissick), choreography (Chris Whittaker), set design (David Harris), all the dancing and most of the acting/singing, it would be churlish to deny it five stars.’
Black Is The Color of My Voice – The Vaults, London
‘Actress-writer Apphia Campbell has created a remarkable picture of the early part of the legendary Nina Simone’s troubled life without one mention of Simone’s name in this breathtaking 70-minute one-woman show…Campbell is a stunning talent with a wonderfully resonant speaking voice that means not a word is lost even when trains rumbled overhead, plus a haunting singing voice uncannily close in tone and timbre to the lady who inspired her.’
JULY
Porgy and Bess – Grange Park Opera, Leatherhead
‘A powerful retelling of this classic work. To hear the words expressed with such renewed meaning, to see the smaller roles reinvented with humour, to see such committed acting and singing, to hear this score soar and swing, reminded me what a masterpiece it is, a true opera, yet accessible to audiences accustomed to the sung-through musicals of today.’
The Secret Diary of Adrian Mole Aged 13¾ – Ambassadors Theatre, London
‘Townsend’s creation wishes at the beginning of his first diary that ‘when I am famous and my diary is discovered, people will understand the torment of being a 13¾ year old undiscovered intellectual’. With so much to entertain those of us who were Adrian’s age at the time of publication, and those who are his age now, it’s safe to say that Adrian Mole is undiscovered no more. And with this marvellous musical version doing the character such justice, he’s unlikely to be forgotten any time soon.’
City of Angels – Royal Academy of Music, Susie Sainsbury Theatre, London
‘The final-year graduates make Larry Gelbart’s witty, clever script snap, crackle and pop from the get-go with director Bruce Guthrie never allowing the pace to flag. He has full co-operation from a versatile cast bang on the money, right down to the smallest part… It is a slick, sharp feast of entertainment and these uber-talented students did it proud.’
We’re Only Alive for a Short Amount of Time – The Public Theater, New York
‘David Cale brings an enthralling intimate dimension to musical theatre with his one-person show… It’s a big-hearted, passionate confessional that pulls you in, at first with its humour and quirky detail, then holds you with the sheer drama of the family events that surrounded him and finally lifts you with its closing exultation of being alive, despite the blows and the bruises.’
Picture: Johan Persson
Oklahoma! – Chichester Festival Theatre, Chichester
‘Jeremy Sams’ production is a fuller, much sunnier and joyful telling of Curly and Laurey’s turbulent courtship…The piece throbs with lively choreography from Matt Cole. All dance numbers are delivered with precision within the vast tapestry of Rodgers and Hammerstein’s well-loved songs and Robert Jones’ impressive timbered barn setting.’
Blues in the Night – Kiln Theatre, London
‘Susie McKenna’s direction gives the production a coherence and cogency that elevates proceedings. While there is no real narrative to speak of, she and the cast work to give a consistency and through line to each character. Sharon D Clarke, returning to the role of The Lady she once understudied at an inappropriately young age. But although the role is now age-appropriate, there is one line that speaks volumes. ‘I ain’t gettin’ older,’ says The Lady, ‘I’m gettin’ better.’ And this glorious production shows that the same is true for Clarke, too.’
Road Show – Encores! Off-Center – New York City Center
‘Stephen Sondheim and John Weidman’s Road Show is a brilliant but daunting enterprise, so all kinds of credit and thanks have to be heaped on the Encores! Off-Center series for giving us another look at it. And it was a highly satisfying look as well… Throughout the show, the singing of the entire company and the clarity of the delivery of the cascades of Sondheim’s rhythmic lyrics were simply great.’
AUGUST
Mr Gum and the Dancing Bear-The Musical! – Dorfman, National Theatre, London
‘There really is nothing not to like in Andy Stanton’s stage adaptation of his own kids’ book. This wise-cracking, rib-tickling, side-splitting phantasmagoria probably has more in it for adults than for kids, yet it kept the younger members of the lively family audience at the National engrossed – and in tears of laughter (myself included).’
Picture: Matthew Murphy
Moulin Rouge! The Musical – Al Hirschfeld Theatre, New York
‘A razzle-dazzler of the first order… and then some. As the first musical to open in the 2019-2020 Broadway season, it starts things off with a lot more than the proverbial bang. It’s hard to imagine anything that will surpass or match its seductive spectacle… (Alex) Timbers’ staging keeps the storytelling in focus and in balance against all the visual grandeur, the exhilarating production numbers, vibrating with Sonya Tayeh’s fresh and eye-grabbing choreography.
Bat Out Of Hell The Musical – New York City Center
‘At the centre of it all is Andrew Polec’s dynamic turn as Strat, emulating rock star magnetism with musical theatre discipline. He created the role in the Manchester premiere, been playing it mostly ever since and still exudes an unpredictability, a sense of spontaneity. It’s a daredevil turn, whether he’s standing on the seat of his motorcycle or juggling a mic on a cord while blasting out the title tune.’
Les Misérables: The Staged Concert – Gielgud Theatre, London
‘The feeling of culmination and history in the making is only magnified by the intimate surroundings of the Gielgud Theatre. Mackintosh’s partially practical decision to move his show next door to the Sondheim (nee Queen’s) theatre is a masterstroke. I was welcomed by seeming old friends and faces on stage, as well as surrounded by people who love this astonishing show as much as myself and so many others.’
Preludes – Southwark Playhouse, London
‘Director Alex Sutton and MD Jordan Li-Smith (ably assisted by Billy Bullivant) have created a spectacular assault on the senses that transcends space and time and leaves you mentally sand-blasted…this genre-busting mash up of Rachmaninoff, musical theatre, techno, Russian folk music and psychedelia – oh, and a bit of Sunday in the Park With George meets Equus – is like nothing that you’ll have seen or heard before.’
9 To 5 The Musical – Milton Keynes Theatre & Touring
‘The show has slick production values to rival the West End staging, smoothly moving from scene to scene with a buoyant and bubbly cast engaging the audience and making the two-and-half-hours flash by in a blur… By the end of the show, the whole audience is up dancing and cheering and you will be guaranteed to leave the theatre on a high. For a feel-good, fun night, book tickets to see 9 To 5!’
Mamma Mia! – Edinburgh Playhouse & Touring
‘Mamma Mia! has crossed a line somewhere and belongs to every single person who sees it. The intoxicating blend of music, dance, performance, character and generation has something there for everyone – join this celebration wherever and whenever you can!’
OCTOBER
Assassins – Watermill Theatre, Bagnor
‘Directed with flair and pace by Bill Buckhurst whose acclaimed pie-shop Sweeney Todd went from Tooting to Shaftesbury Avenue to Broadway, and performed by an outstanding team of actor-musicians, this 1990 Sondheim, from Weidman’s brilliant book, zips along for 100 glorious minutes without the interruption of an interval.’
Calendar Girls The Musical – Wimbledon Theatre & Touring
‘With some first-class songs by Take That’s Gary Barlow and a witty but moving script by Barlow and long-time friend Tim Firth, is a cracker. It is a show with a warm heart, a show that makes you laugh, a show that makes you cry.’
Picture: Jassy Earl
Islander – Southwark Playhouse, London
‘It was very quiet in the auditorium at Southwark Playhouse for the press performance of Islander, Musical Theatre Review’s Best Musical award winner at this year’s Edinburgh Festival Fringe. The audience seemed rapt both by the story (book by Stewart Melton) and the live music (score by Finn Anderson) which is fundamental to its telling… The result is well worth our rapt attention. This is storytelling and musical theatre at its best.’
Anastasia – Circus Theater Scheveningen, The Netherlands
‘The original staging by Darko Tresnjak and the inspired choreography by Peggy Hickey, especially in the extended Swan Lake scene, as well as the spectacular set design of Alexander Dodge and video projections of Aaron Rhyne, are faithfully re-created for this production, fitting like a hand in the glove of the larger stage of the Circus Theatre, where it is due to play for at least a year.’
Singin’ in the Rain – Showtime Challenge 48-Hour Musicals, Adelphi Theatre, London
‘This was a joyous occasion at the Adelphi Theatre, certainly for the audience and I hope for all the performers. Putting on a musical in 48 hours (and apparently not working overnight to do it) is a tall order but the Singin’ in the Rain company pulled it off’
Paradise Lodge – Tabard Theatre, London
‘Paradise Lodge is all about expression, feeling and remembering those who brought us into the world, those we love. It’s a show with a difference as it taps into something unique, ‘ageing’… This play is a tribute to the older folk out there and I for one felt re-touched by its thoughtful insight and comical wand.’
NOVEMBER
Kinky Boots – Milton Keynes Theatre and Touring
‘Audiences are treated to a first-class cast, that moves jovially through the plot from factory floor to Milan catwalk. Dance routines and songs are performed to pin-point perfection, from the high-kicking awe of the drag queens to the ruddy gumption of the factory staff. It’s impossible not to be enchanted by the characters and dazzled by the costumes… Cheeky, funny and loveable, Kinky Boots is impossible not to love and will leave you with an aching jaw from the permanent grin that will be plastered across your face.’
Nativity! The Musical – Waterside Theatre, Aylesbury & Touring
‘Despite all the adult cast being outstanding, as in the movie, the show belongs to the kids. Every single child on the stage representing St Bernadette’s and Oakmoor Prep gives a performance worthy of being seen by Hollywood… Whether you’re a fan of the original film or new to Nativity!, this genuinely heart-warming and wonderfully uplifting production is guaranteed to put you in the Christmas spirit and leave you smiling and singing ‘Sparkle and Shine’ until the New Year.’
The King and I – Grand Theatre, Leeds & Touring
‘Director Bartlett Sher integrates words, music and dance into a seamless whole –no easy task given the size of the cast and the considerable resources at his disposal. In trying to extract an original comment for this review, I asked the ten year old next to me who she thought was the best singer. Her answer was: ‘All of them.’ Not helpful for my purposes, but accurate nonetheless.’
Soft Power – The Public Theater, New York
‘Co-produced by New York’s Public Theater and Los Angeles’ Center Theatre Group, the show has been lavishly mounted. It projects the visual and aural luxury of classic Broadway on just a slightly miniaturised scale, with a 14-person cast and some 23 musicians, while brimming over with satire, political savvy and passion and even ideas about the strengths and foibles of musical theatre.’
I Love You, You’re Perfect, Now Change – Chiswick Playhouse, London
‘Terrific value for money, directed with Broadway-style slickness by Olivier Award-winner Charlotte Westenra, best known for her work at the Donmar and the Old Vic, and performed with bewildering versatility by a cast of four who give this lightweight charmer everything they’ve got… Warmly recommended.’
Cyrano – Daryl Roth Theatre, New York
‘It’s (Peter) Dinklage who is the show’s beating and aching heart, adding both light and shadows to (Erica) Schmidt’s sobering take on the play. He’s a consummate actor and it’s hard to take your eyes and ears off of him, whether he’s sexily suffering the pangs of sequestered love or delivering a bon mot or ironic commentary with a delicious dryness.’
Picture: Matthew Murphy
Dear Evan Hansen – Noel Coward Theatre, London
‘Wonderful performances – especially that of Sam Tutty, who’s surely destined for big things after this – and intelligent, well-written songs make for an emotional night of theatre. Having had a friend recently lose a son to suicide, and hearing from colleagues about the traumatic experiences had by their kids on social media, I found this show an emotional roller coaster.’
TINA-The Tina Turner Musical – Lunt-Fontanne Theatre, New York
‘(Adrienne Warren) gives a super-hero performance, capturing all the charisma and talent of the titular diva, condensing it all with breath-taking energy into less than three hours and putting her own distinctive, glamorous stamp on the material as well.’
The Wizard of Oz – Leeds Playhouse
‘In other productions (director James) Brining has demonstrated how adept he is in deploying large resources. He allows no let-up in the pace, action and colour. Pulling together all the elements of a production like this – singing, dancing, animatronics, aerial silks, video – is no mean feat. Investment in the newly refurbished (and recently renamed) Leeds Playhouse is in safe hands.’
DECEMBER
Anything Can Happen in the Theater: The Musical World of Maury Yeston – The York Theatre Company, New York
It’s just one song after another, no introductions, no particular context, and except for some situation-setting exchanges at the very opening, no dialogue. But the new Off-Broadway revue Anything Can Happen in the Theater: The Musical World of Maury Yeston is a totally captivating confection.
Picture: Roy Tan
42nd Street – Upstairs at the Gatehouse, London
The enthusiasm of this youthful cast is indeed contagious and if this Fringe production doesn’t have some of the usual spectacle, it sure makes up for that in sheer energy.
Curtains – Wyndham’s Theatre, London
Don’t miss at any price this occasion to discover the only venture into the American west, away from the dives of Berlin and Chicago, of one of the greatest Broadway writing teams that ever was: Kander and Ebb.
Jagged Little Pill – Broadhurst Theatre, New York
Acceptance, compassion, understanding and love take over to rule the day. It’s a happy ending I’m not sure is dramaturgically earned, but the show delivers so much on the way that it’s a jagged little pill you’re ready to swallow.
Angela Thomas
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