Musical Theatre

“Company” Review, Gielgud Theatre: “You Can’t Imagine It Being Staged Any Other Way Again”

Posted by Alice Jones | 6th Nov 2018 | London, Musical Theatre, Review, United Kingdom |

This is a game-changer. “Radical update” is a phrase that is all too often bandied about in...

Jonathan Kalb Interviews Himself On Daniel Fish’s “Oklahoma!”

Posted by Jonathan Kalb | 2nd Nov 2018 | Interview, Musical Theatre, New York, Theatre and Disability, Transcultural Collaborations, United States of America |

Jonathan Kalb: So Jonathan, did you like the show? Jonathan Kalb: Can we come back to that,...

From Idea To Page To Stage

Posted by Peter Griffin | 31st Oct 2018 | Essay, India, Musical Theatre |

The creators of #SingIndiaSing talk about what it takes to make a musical from the ground up The...

Miguel Septién A Great Direction Of “Kiss Of The Spider Woman”: A Risky And Avant-Garde Proposal

Posted by Lorena Meeser | 30th Oct 2018 | Directing, Mexico, Musical Theatre, Review |

Kiss Of The Spider Woman is splendidly directed by Miguel Septién, an excellent director who...

Mark Sonnenblick And “Midnight At The Never Get”

Posted by David Vernon | 19th Oct 2018 | Interview, LGBTQ Theatre, Musical Theatre, New York, United States of America |

Mark Sonnenblick is a composer, lyricist, and scriptwriter. His latest collaboration is Midnight...

Shaina Taub’s “Twelfth Night” At The Young Vic

Posted by Aleks Sierz | 13th Oct 2018 | London, Musical Theatre, Review, United Kingdom |

If music be the food of fun, play on! In fact, give me excess of it, surfeit even. If this is how...

“The Last Five Years”: Poignant Tale Of Failed Marriage

Posted by Iris Winston | 9th Oct 2018 | Canada, Musical Theatre, Review |

From the joy of meeting to the unraveling of love and back again, The Last Five Years is a...

Debris Stevenson’s “Poet In Da Corner” at The Royal Court

Posted by Aleks Sierz | 3rd Oct 2018 | London, Musical Theatre, Review, United Kingdom |

There was once a time when grime music was very angry and very threatening, but that seems a long...

Akinori Nakagawa Captures Frankie Valli In “Jersey Boys”

Posted by Nobuko Tanaka | 1st Oct 2018 | Essay, Japan, Musical Theatre |

Nothing sounds quite like the early 1960s more than the vocals of Frankie Valli. As lead singer of...

“Heathers The Musical” Wildly Funny And In Deliciously Bad Taste

Posted by Sarah Carson | 26th Sep 2018 | London, Musical Theatre, Review, United Kingdom |

Heathers The Musical Theatre Royal Haymarket, London ★★★ On its release in 1989, Heathers was an...

B+ For Broadway Across Canada’s “School Of Rock”

Posted by Iris Winston | 26th Sep 2018 | Canada, Musical Theatre, Review |

The great pity is that this high-energy rock musical is largely unintelligible. From flashing...

“Oklahoma!” Is Still OK

Posted by Trevor Boffone | 15th Sep 2018 | Musical Theatre, Review, United States of America |

I grew up on Oklahoma! Now, I’m not sure how many Millennials can share this feeling, but that was...

“Me And My Girl,” Review: Matt Lucas’ Stand-In Provokes Frenzied Standing Ovation

Posted by Gary Shipton | 24th Jul 2018 | Festivals, Musical Theatre, Review, United Kingdom |

When the first person to appear on stage is director Daniel Evans with a microphone in hand and...

Bernstein In Flight And T.S. Eliot In Motion At Bard Summerscape 2018: An Interview With Gideon Lester

Posted by Yan Chen | 19th Jul 2018 | Dramaturgy, Festivals, Interview, Musical Theatre, New York, Theatre and Dance, United States of America |

Gideon Lester is Artistic Director for Theater and Dance at the Richard B. Fisher Center for the...

“Sa Wakas” – A Sugarfree-Inspired Rock Musical

Posted by Jenette Vizcocho | 8th Jul 2018 | Musical Theatre, News, Philippines |

Ina Abuan started off like any other big fan of Sugarfree, but when she was invited to co-author a...

“Carmen Jones”: A Classic Reborn

Posted by Brandon Webster | 6th Jul 2018 | Musical Theatre, New York, Review, United States of America |

It is then, a refreshing surprise – as New York theatre recovers from the inundation of Broadway super-musicals that were too big to succeed – that Carmen Jones has returned in a razor-sharp 95-minute John Doyle production at the Classic Stage Company.