The first thing that strikes you about this joyously inventive postage stamp staging of Rodgers and Hammerstein’s masterpiece – and it strikes you so forcibly in this high-decibel digital age that it’s almost a pinch-yourself moment – is that the show is entirely acoustic. No samplings, no obtrusive head-mics, just an unlikely quintet of instruments … [Read More]
The darkness descends with the shocking first chord of the Overture brutally shutting out a beautiful day at Glyndebourne. Such comedy as there is in this show (and that aspect of the piece is kept well in check) will be black, for sure. Director Jonathan Kent and his designer Paul Brown – and revival director … [Read More]
I still regard myself as an Andrew Lippa newbe – though now that his recent outing at the St James Theatre has morphed into fully-produced all-singing, all-dancing London show with props and projections and costumes and lights I am beginning to feel a little less like a gatecrasher at the party. Ok, so I went … [Read More]
The Mormons were out in force for GAVIN CREEL, the latest of my Singular Sensations to grace the Charing X Theatre on Easter Sunday.
Anyone who has seen him on stage will know what a born performer he is and for me, sharing the stage with him, the real thrill of the occasion came not … [Read More]
It managed 18 previews and just four performances on Broadway at the Mark Hellinger Theatre in 1986 and what I wouldn’t have given to have seen the great Teresa Stratas in the central (very central) role of Rebecca Hershkowitz. But Charles Strouse and Stephen Schwartz’ Rags has endured as a score and the cast album … [Read More]
It is the afternoon of Friday 2 May in the none too prepossessing upstairs studio of the Dominion Theatre and I am one of a privileged few invited to a workshop reading of the West End bound Howard Goodall/Charles Hart/Gurinder Chada & Paul Mayeda Berges musical of that film charmer Bend It Like Beckham. … [Read More]
These days it almost goes without saying that something extraordinary is happening at the Young Vic. There hasn’t been a show I have seen there over the last two years that didn’t challenge and excite my theatrical imagination. But Ivo van Hove’s staging of Arthur Miller’s A View from the Bridge is something else. It … [Read More]
In my debut on CLASSIC FM I’ll be popping up regularly on Charlotte Green’s Culture Club – Sunday 3-5pm – with selective tips for all that’s best in live Classical Music, Opera, and Musical Theatre. Short and sweet but hopefully lively and informative, too. Expect the odd anecdote.
http://www.classicfm.com/radio/shows/charlotte-greens-culture-club/… [Read More]
“Happy Days”. It’s a throw-away phrase, an all-purpose “we’re still here” pleasantry, a little more specific than “cheers” and perhaps a bit (some would say a lot) more hopeful. Samuel Beckett’s devastating play turns it into a euphemism or, if you prefer, a loaded metaphor for human kind’s extraordinary ability to fain contentment in the … [Read More]
Conductors achieving superstar status are rarely shy, self-effacing, and humble – but that was the paradox characterising Claudio Abbado throughout his extraordinary career. I came in during the nine years he was Principal Conductor of the London Symphony Orchestra when his dynamism and smouldering good looks were such a good fit for the hippest and … [Read More]