I have to say that I’m not normally too much of a fan of contemporary musical theatre. I’m not sure what it is exactly that makes me like this, perhaps that sometimes I feel like the music can be overly complicated and a bit self righteous. I am very pleased to say though that I have found the exception to my rule with Falsettos at The Other Palace.
As I squeezed off a packed train and made my way through the grey clouds and drizzling rain to the New Wimbledon Theatre, my spirits were not high. The sun had given way to wet feet and frizzy hair, but fortunately I was about to step into a Victorian sea-side summer and enjoy some uplifting show tunes, guaranteed to raise a smile.
‘Monday Night Magic’. Such a foolishly, deceptively, simple title - unless you’re in the know. If you’re in the know, you know this twice a year sell-out show hosted by John Lenahan, attracts only the best and most brilliant in class. And those who know about it – want to keep it for themselves.
I really don’t like saying bad things about people who are brave enough to get up on stage and try and entertain, but I’ve got to be honest: the best thing about this show was the fact it’s now over.
“Mildred Hubble Spells Trouble”, but not in the latest musical production to open in the West End. In fact, it was no trouble at all to watch this rather magical and highly entertaining cross over from Jill Murphy’s well known and highly celebrated children’s book series to mainstream musical theatre production of The Worst Witch by Emma Reeves (Adapter).
‘Bare: A Pop Opera’ is a coming-of-age musical (opera) with music by Damon Intrabartolo, lyrics by Jon Hartmere, and a book by Hartmere and Intrabartolo. Peter (Daniel Mack Shand) is in love with Jason (Darragh Cowley), his Catholic Boarding School roommate. Peter is a nerd-type whilst Jason is a cool kid, sporty and popular. Both wrestle with their sexuality in different ways with an ultimately tragic consequence.
Written by Dan Daniel, this original production is an intimate portrayal of two characters told through their interwoven monologues, that give us the male perspective on two very different relationship dilemmas: marriage and divorce.
Michael Webborn and Daniel Finn’s musical, The Clockmaker’s Daughter, tells the tale of Constance and her desire for life and love, her relationship with Will and the rest of the folk living in Spindlewood, and the clockmaker Abraham’s desperation to keep Constance safe and his own yearning to once again experience the love he has lost in the past.
One of the theatre’s associate companies, Fat Rascal Theatre bring their critically-acclaimed production to the Kings Head Theatre. Vulvarine: A New Musical is a skilfully crafted superhero parody providing 60 minutes of pure quality comedy that I didn’t want to end.
Written by Alexander Knott, Hedgehog tells the story of Manda, a 1990s teenager on the verge of her journey into adulthood. Manda has all the anxiety of youth, and none of the experience of adulthood at her fingertips and we follow her through a time of exploration and experimentation.
The Calm Down, Dear series of bold feminist theatre continues to deliver at the Camden People’s Theatre, and last night I was fortunate enough to see Lauren Silver and Helen Foster present a work-in-progress of their show, (Silly) Little Women.
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