A youtube video of the opening number! You saw it here first (hopefully)!!!
Interested in learning more? Read ‘an earlier post about this musical’ written by Edward Seckerson last year.
“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 … [Read More]
Musicals stand or fall on their books; docu-musicals are defined by them. Even a bunch of great songs won’t entirely carry an evening on Broadway or in the West End and it’s certainly no coincidence that Marshall Brickman and Rick Elice’s cracking book for Jersey Boys helped catapult Frankie Valli and the Four Seasons back … [Read More]
Can it really be 40 years since Sondheim’s waltzy, nostalgia-flecked, fancy first intoxicated our senses with its promise of indiscretion and insatiable desire? But that’s the thing, isn’t it – every Sondheim piece feels brand new on re-acquaintance and it’s only as you wonder at the unique tinta each of these shows and marvel afresh … [Read More]
Renée Fleming ‘In Conversation’ with music journalist and critic Edward Seckerson, as part of Ms Fleming’s Humanitas Visiting Professorship in Opera Studies at the University of Oxford, November 2013.
Their discussion flowed from Edward’s opening question: ‘what makes now a different time to be a singer than in the past?’
Drawing on her professional experience … [Read More]
For a play in which inertia, atrophy, indecision, and the inability to move forward are key elements – aren’t they always in Chekhov – Katie Mitchell’s marvelously busy and concentrated staging of The Cherry Orchard fair zips along. In Simon Stephens’ punchy and highly contemporary translation the comedy is kept sharp and buoyant and immediate … [Read More]
Delighted to be back as a regular guest on the the Radio 2 Arts Show with the amazing Claudia Winkleman… [Read More]
The first thing one needs to grasp about A Streetcar Named Desire – and director Benedict Andrews has seized hungrily upon it in his unnerving staging at the Young Vic – is Tennessee Williams’ sense of the mythic over the mundane; the heightened reality – or transcendence – that makes poetry of street talk and … [Read More]
Peter Shaffer has always been a big ideas man and the curse laid upon Antonio Salieri that he and he alone should recognise the genius of Wolfgang Amadeus Mozart while all around him – not least himself – bask in mediocrity is one of his biggest and most challenging. Amadeus isn’t a play about rivalry, … [Read More]
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]