If your view of Greek tragedy is that it should be interminable, histrionic, lyrical, grand and unfathomably disturbing, then this Antigone is not for you. But if you are open to the possibility that Greek tragedy can tap into the fears and troubles of any generation, then this is an irresistible production, compelling and disturbing.
Although there are a few moments when the old girl creaks slightly, for the most part the staging feels contemporary and interest is snapped to attention right from the very start, when the slightly menacing words of the auctioneer herald the commencement of proceedings. The sequences in the Phantom’s lair, complete with boat, candles and ornate organ are almost hypnotic; tendrils of smoke wrap around the imagination, infusing the action and music with intrigue. Harriet Jones is beautiful, petite and alluring, exactly as Christine Daaé should be. Vocally, as the Phantom, Kieran Brown’s fine, high-baritone is silky, seductive, and powerful.
Rumpy Pumpy! is a vibrant new musical based on the true story of two ladies from the Hampshire Women’s Institute, Jean Johnson and Shirley Landels, who set out on a worldwide campaign to decriminalise prostitution and improve conditions for working girls. As the conflicting worlds of WI members and working girls collide for tea and crumpets, comedy and chaos ensues in this controversial new comedy. With this year marking the 100th Anniversary of the WI, Rumpy Pumpy! is proud to be a part of celebrating the WI’s history of helping women. Jean Johnson is still campaigning to this day. Rumpy Pumpy will feature Valerie Cutko as Jean Johnson – Carousel (Arcola Theatre), My Fair Lady (BBC Proms), Flahooley (Sadler’s Wells), with her trusty sidekick, Shirley Landels, being played by Marjorie Keys – Dr Do-little with Philip Schofield, Spend Spend Spend with Barbara Dickson, Chicago. Other casting includes Mandi Symonds as … Read more
Let It Be is a musical celebration of the Beatles and the many, many glorious hits that they recorded during the decade from 1906 to 1970. The show does not offer up any pretence at being a juke box musical with biographical elements, it simply gives audiences a mostly chronological hit smorgasboard, the likes of which will never be equaled by any other pop group.
Wry and rapscallion, Cory English’s Max is perennially down and out and glibly shooting the breeze simultaneously. Jason Manford carefully crafts Leo as a buffoon with a heart of marshmallow, is very funny (physically and verbally) and nails his passion for show-business precisely. Like a deranged Bratwurst Behemoth, Jupitus’ Franz is a triumph of dysfunction, hysterical devotion to a lost cause and amiable murderous delusion. Tiffany Graves is in sensational form as the 11am temptress, Ulla.
What Play should you see first in London? We have compiled this list to save you the trouble of working it out! It’s just our view – and everyone has one – based on our Reviewers’ thoughts. We will update the list regularly so new productions get on your radar and when original casts change that is factored in. Plays which have been running for more than three years are not included – this is a list for new or relatively new productions running in London. So go see them! 1. A View From The Bridge At the centre of the maelstrom of human experience that whips up and around and in Jan Versweyveld’s spare set is the towering, mesmerising and faultless turn from Mark Strong. Lean, muscular, a volcano approaching breaking point, Strong’s extraordinary Eddie is a once-in-a-generation performance. Read Our Review | Book Tickets 2. Taken at Midnight … Read more
Be Bop A Lula is a well-staged concert, to expect anything more would invite disappointment. What you will get from Be Bop A Lula is an evening of great music, delivered by an ensemble of performers with a love of the material that ensures it is performed with the love, care and respect that great Rock And Roll deserves.
Morgan Lloyd Malcolm and Rachel Parish transfer the core thematic and psychological matrix of the story very successfully into the framework of the modern art world and an exploration of its cult of excess.
