Patrick Honoré runs the magazine broadwayguy.com and has been a musical theater critic for 15 years, sarting as the French Musical Corespondant for the paper edition of Musical Stages in London, which led to his writing for Musical Theatre in Review, its digital follow-up. He was the French corespondant for the German magazine Musicals, the last hold out for paper magazines devoted to musical theater. And he has also written reviews on Broadway and London musicals for musicalavenue.fr in French. He joined the Broadway World team 6 years ago.
Patrick Honoré is also a cabaret performer in Paris, London, and New York. He has taught jazz and theater dance in his company Guys and Dolls, which he created in 1996.
Patrick fell in love with musical theater when he was 13 years old, and has since been visiting London monthly and New York biannually, which explains his encyclopedic knowledge of the genre and its history. His tastes favor the Golden Age style of musical, and his favorite composers are Jerry Herman, Kander and Ebb, Cy Coleman, and Stephen Sondheim, whose songs he regularly performs in Parisian cafés.
What did our critic think of LOVE SONGE THÉRAPIE at Lucernaire?
What did our critic think of LES TROPHÉES DE LA COMÉDIE MUSICALE at Casino De Paris? After two years of absence, Les Trophées de la comédie musicale are getting bigger and bigger, from no live audience at the Trévise Theatre in its first annual production, to the first live version three years ago, to the packed Casino de Paris this year for its 4th annual ceremony.
What did our critic think of JE VAIS T'AIMER at La Seine Musicale? Originally set to open in fall 2021, the Michel Sardou juke-box musical is the first French big spectacular to hit the capital since Covid. Following a brief tour, it is playing a limited season at the huge Seine Musicale Auditorium in Boulogne, in the close outskirts of Paris. Unlike the Mike Brant biopic musical, Je vais t'aimer follows the path of Mamma Mia and the most succesful French juke-box musical to date, Resiste, bilt around the repertoire of France Gall.
American Musical Theater Live continues to carry Broadway's flame in Paris.
18 years after his successful musical revue Zapping at the Théâtre du Gymnase before transferring to the Olympia and the Trianon, Bruno Agati is back with another off the wall production, this time focusing on gender ambiguity and digging more deeply into the inner psyche of its writer-director-choreographer. Always oscillating between first and second degrees of humor, whereas Zapping stayed exclusively on the latter, Mixity is essentially more of a drag show than a dance show even if every act is thoroughly choreographed, exploring the diversity of drag, man to woman, woman to man, and in between!
Aurélien taps to classical music at the Châtelet Theater.
Quadruple threat Dalia Constantin in an initimate autobiographical one-woman show.
Cole Porter, the most Francophile of the big five American composers of the American songbook, with Irving Berlin, Jerome Kern, George Gershwin, and Richard Rodgers, spent almost a decade in Paris just after World War I immersing himself French language and culture and developing his craft as a composer and lyricist of sophisticated and semi-autographical ditties full of double entendre, trying them out as a dilettante pianist in the party scenes of the roaring 20s not only in Paris but also in Venice, before taking on Broadway by storm the following decade.
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