I love Christmas. But for the past several years, I have struggled to summon the Christmas cheer that used to kick in for me the day after Thanksgiving (or, after so many years in the UK, by 1 December at the latest).
I was fascinated by the story behind the play telling the story behind the film. The Shark Is Broken is the brainchild of Ian Shaw who co-wrote it and stars as his own late father Robert Shaw.
Here's a sobering statistic: 2,000 pubs closed during lockdown. Lost forever. The scale of that loss really struck me when I heard performer and (brilliant) poet Ben Norris recite it during The Choir of Man at the Arts Theatre. And, in fact, it's likely an underestimate.
There are some shows with modest beginnings that seem to have all of the industry behind them, willing them to succeed. Pride & Prejudice* (*sort of) is one of them.
This is not a project born of outsiders wanting to cash in, but rather a long-held ambition, some 16 years in the making, of Back to the Future's creators.
There's a line in The Last Five Years, Jason Robert Brown's semi-autobiographical musical two-hander about a relationship breakdown, that gets me every time.
While London has had to wait a long time for Disney’s own screen-to-stage adaptation, its September arrival makes it feel as if Christmas has come early to the West End.
Every theatremaker has faced high hurdles to get their shows on over the past 18 months, but the challenges faced by Andrew Lloyd Webber’s Cinderella have been especially high-profile hurdles.
If it weren’t for Covid-19, we probably wouldn’t have Jersey Boys back in the West End. But we probably would still have original Four Season Tommy DeVito.
Just getting to the end of a show at the Open Air Theatre when the weather is iffy feels like an accomplishment, for the audience as well as the company.