Review: ABIGAIL'S PARTY, Stratford East
The Seventies were a time for cheesy pineapple, bellbottom jeans, Elton John, and ABBA. Written in 1977, Mike Leigh’s darkly comic picture of the English middle class turns out to be an evergreen classic. Revived some ten miles from the story’s real-life setting, this is Nadia Fall’s last show as Artistic Director of the venue and features known ‘EastEnder’ Tamzin Outhwaite as Beverly Moss.
Review: COME DINE WITH ME THE MUSICAL, Turbine Theatre
There’s potential for Come Dine With Me: The Musical to become a Michelin-starred delight, and its Edinburgh Fringe production has the foundations for it. The cast are all great, the writing has its laughs and the songs are catchy. It just needs more time to simmer and extra spice to give it that extra kick.
Review: THE 39 STEPS, Trafalgar Theatre
Patrick Barlow’s parody The 39 Steps creaks and groans in places but still has plenty of laughs. Wrapped around the central character of Richard Hannay, the story unfurls as we see him accused of murder, run from the police and then defeat a foreign cabal of spies.
Review: THE 39 STEPS, Theatre Royal Brighton
A stage adaptation of Alfred Hitchcock’s 1930’s spy film (which was in turn was an adaptation of John Buchans novel), The 39 Steps is a madcap dramedy set in 1935 but many of its themes feel relevant today, despite the wacky premise of just four actors playing 139 characters.
Review: MISS JULIE, Park Theatre
Max Harrison’s production is a beautiful textbook revival that, while leaning into the comic side of the text (translated here by Michael Meyer) accordingly tips into the opposite range of emotional distress. This Miss Julie is funny one second, horrid the immediate next.
Review: CLOSER TO HEAVEN, Turbine Theatre
The talented cast and creatives can only do so much to elevate the musical’s inherent camp, but Jonathan Harvey and the Pet Shop Boys' script and songs feel underbaked with characters who aren’t able to be fleshed out. With this in mind, it feels closer to hell.
Review: WEDDING BAND, Lyric Hammersmith
Interracial marriage has been legal in the United States for less than six decades. To put it into perspective, sliced bread was first sold forty years earlier. Set in 1918 South Carolina, Wedding Band is a blistering portrayal of unjust laws and discrimination, of conscious and unconscious bias, of finding love inside hopeless prejudice. Alice Childress’ American classic describes a Deep South riddled with hatred and stigma, a picture that’s uncomfortably close to a certain party’s opinions and that, sixty years later, remains unfortunately topical. A white baker and a black seamstress defy public opinion in this sombre drama.
Review: SISTER ACT, Kings Theatre Glasgow
This divine revival of the iconic movie follows nightclub singer Deloris van Cartier (Landi Oshinowo), whose life takes an unlikely turn after she witnesses a mobster murder. Seeking refuge in a holy convent, she poses as a nun revamping the sisters' struggling choir... despite protests from the austere Mother Superior (Coronation Street's Sue Cleaver).
Review: THE BALLAD OF HATTIE AND JAMES, Kiln Theatre
Somewhere in King’s Cross, a middle-aged woman sits at a piano and plays an original piece with surprising fluency. There begins Samuel Adamson’s tumultuous tale of two teenage musical prodigies whose lives become thoroughly entangled.
Review: COOL RIDER, London Palladium
Producers Christopher D Clegg and James Drury have had a remarkable journey with Cool Rider, the much-lauded Grease 2 stage adaption. From a supposed ‘one night only show’ back in 2014 at the Lyric Theatre, to record-breaking ticket sales, a flurry of last-minute additional dates, then a return run three months later at the Duchess Theatre…not to mention an original cast recording.