8 Major Musicals in 8 Weeks: Fall '06 in London

How many West End musicals are opening this autumn (Fall)?

One?

Two?

Three?

Four?

Five?

Six?

Seven?

If you said any of the above, you're wrong.

London is fast approaching one of the most exciting seasons in recent musical theatre history. After the 'big three' two years ago – The Woman in White, The Producers and Mary Poppins – we now have a 'big eight', yes - eight new musical productions opening in the space of eight weeks. So what's the goss on them? Let's find out..

First up on September 21st is the long-awaited Daddy Cool. Of course, I say it will open on September 21st but if the almost constant wave of delays and set backs continue, it'll be some time next year when it finally decides to open. Based on the back catalogue of Boney M (yes, who?) and 'echoing' the Romeo and Juliet story, this is one musical that's had its fair share of column inches online and in the printed press. It stars pop star Harvey of the controversial band So Solid Crew (who are regularly accused of violent scandals), another pop star, Javine, a runner up in Pop Idol (the UK version of American Idol) and former soap star Michelle Collins, who has never appeared in a musical before though does have singing experience. Of all the autumn musicals it's going to have the toughest ride I expect; it's already discounting and must be quite a hard sell to musical theatre fans. However it does have a decent website, good posters and – admirably – cheap tickets for under 26 year olds.

Next, on September 27th is a little show called.. Wicked (no, I hadn't heard of it either..). Who are we kidding? Wicked looks set to be the show that sets the West End on fire. Its advance is extremely healthy, its buzz seemingly at fever pitch and its producers take very good care of the fans by regularly sending informative and insightful newsletters to their inboxes. It stars the Tony Award winner Idina Menzel, who created the role of Elphaba in the Broadway production, and an Australian actress called Helen Dallimore as Glinda. It's not gone for huge names; Nigel Planer as the Wizard and Miriam Margolyes as Madame Morrible might be recognisable but they're not A-Listers, but it doesn't particularly need them. On Broadway the show received mixed reviews, which I suspect could follow here, but its appeal is far reaching – it is a prequel to the Wizard of Oz. It's not yet evident how strong or significant the TV and magazine appearances will be, but when the producers are practically Disney-like in their execution, I suspect it will be unmissable..

October 10th sees a theatrical event that should – at the moment – be bigger than it is. And, depending on when they get on and announce casting, still has the potential to be gigantic. It's Kander and Ebb's Cabaret at the Lyric Theatre directed by Festen director Rufus Norris. This revival's been on the cards for a long time now (Norris was announced as director in March 2005) and the names attached to it have been so far-fetched and numerous that I wouldn't be surprised if Liza herself was tipped to star these days. Who do you want from the pickings of Martine McCutcheon, Natalie Portman, Denise Van Outen, Anna Maxwell Martin, Eddie Izzard (yes, as Sally), James Dreyfus, Matt Lucas, Sheila Hancock, Rhys Ifans?! The list is just exhaustive, and frankly, it's getting silly. If anything, such hype will go against it when it finally announces a cast, which it must do any day soon as it starts rehearsals on August 14th!! It's a Bill Kenwright production and has an average website at www.cabaret-the-musical.com.

Next, on October 16th, just a week later, is Monty Python's Spamalot, based on the very successful films which have a cult, iconic status over here. Casting for it isn't as exciting as on Broadway. Whereas you were treated to Tim Curry, Hank Azaria and David Hyde Pierce in the opening cast, we only have Curry reprising his role and a cast made up of comparative unknowns. Curry leaves in January and hands the role to Simon Russell Beale, who although is a critical gem isn't a well known name. Its venue is the Palace Theatre (former home to long runner Les Miserables, which moved), a theatre that has – arguably – one of the most prime West End spots on a busy junction that's passed by thousands of people every day. Winner of the Tony Award for Best Musical, it's widely known that Spamalot attracts a different type of audience to musical theatre; the thirty year old straight man, who wouldn't normally go flocking to the West End. I suspect it will be a big hit here, and maybe opening with unknowns is a good thing, it means audiences won't fall off when they leave.

We've still got a long way to go yet. If you're not into your musicals, maybe you can take in a play instead – Harold Pinter will take to the stage in Krapp's Last Tape at the Royal Court (October), a revival of Bent by Martin Sherman starring Alan Cumming is at Trafalgar Studios (from September), a new Conor McPherson play is at the National (from September), Kevin Spacey stars in A Moon For the Misbegotten at the Old Vic (September – December) and Rhys Ifans stars in Patrick Marber's updated version of Moliere's Don Juan retitled Don Juan in Soho (Donmar Warehouse from December).

The National Theatre, who under the artistic directorship of Nicholas Hytner have only presented two musicals – Jerry Springer the Opera and Stephen Sondheim's Forum, will host the UK premiere of Caroline, or Change, with original creative team - headed by George C Wolfe - bringing their talents here too. No word yet on who'll play Caroline – could it possibly be original Tony-nominated actress Tonya Pinkins – but a strong supporting cast has been announced, including Clive Rowe, Anna Francolini and Valda Aviks. In the Lyttleton Theatre it should sit nicely. Whether it will have a longer repertory life after its initial twenty performance booking period is yet to be seen – but I'm sure it will, after all eight of those performances are previews, so a longer run must be anticipated. The National previously presented Tony Kushner's epic theatrical play Angels in America. It opens October 19th.

As if we could get any further away in content from a very depressing night at Caroline, or Change, critics will have to dramatically alter their moods a few nights later at Dirty Dancing on October 24th. Subtitled 'the classic story on stage' – this one is no sleeper hit but a big wide-awake smash. It's said to have garnered the biggest West End advance ever. One can't help but think this is ever so slightly misleading – audiences are likely to be expecting a full blown musical but are instead treated to more of a 'play with music', said to be very similar to the film in terms of dialogue and structure. There's no names in the cast at all, the title itself is what sells. Featuring such classics as The Time of My Life and Big Girls Don't Cry, it also has the infamous line 'nobody puts Baby in the corner'. It's obviously still a big hit – at a recent screening of the film at a cinema here in the UK, two thirds of the predominantly student audience belted out the iconic line in unison. Scary. But it looks like Dancing will be here to stay for a very healthy run.

We're nearing the end now, two more to go. The Gershwin classic Porgy and Bess offers a more classical outing for older theatregoers, after all, most of the other openings are predominately appealing to much younger audiences. So, to cater for a different audience, Trevor Nunn will revive the production but has trimmed it down himself to a supposed two and a half hours (it's quite well known that Nunn's productions in previews are often around the three hour mark, so we'll see). It's previewing from the end of October, so we should expect some finalised casting surfacing in the next few weeks. Other than that it's quite quiet on the news front for this production, only that it will open at the Savoy Theatre and Gareth Valentine will serve as musical adaptor.

Last, but by no means least, on November 14th is the musical which has gathered perhaps the most controversy, the most attention, the most excitement and which has possibly received the most media attention for a theatre event this year. Four words: The Sound of Music. Why - I hear you ask – would a revival of a 1960s musical receive so much attention? Well, try casting the show through American Idol, then you'll understand. Yep, Andrew Lloyd Webber – who has turned his hand once more to producing – has decided to go down the reality TV road in order to find an unknown actress to take the leading role of Maria in the show. The programme, called 'How Do You Solve a Problem Like Maria?' (witty) is a carbon copy of all the music-related reality TV shows. I don't know what you have in the States, but certainly in England there are far too many to recall. And, like those shows, it will end in public voting. Only three episodes have aired so far, but I'm hooked. It's addictive television for any musical theatre freak, but thankfully also for non-musical theatre freaks too, it should attract a new audience to theatre – you can almost hear Joe Public reaching for their cordless phones to book tickets.

So why the controversy? One statement to slip out of Lloyd Webber's mouth was saying that drama school produces a 'certain sameness' – so he may now have to bear the hatred of thousands of drama school students and teachers. Drama schools and theatregoers have spoken out in their masses, yet no-one has objected to the fact that Emma Williams, who created the role of Truly Scrumptious in the stage version of Chitty Chitty Bang Bang, is said to have accepted the role of Maria as an alternate, as Williams herself never trained at drama school either. Lloyd Webber quickly backtracked, issuing a statement saying his comments had been taken out of context. Another factor no-one seems to have cottoned onto is that director Jeremy Sams seems to have had no role in the TV programme yet – surely he should be imperative to casting his own leading lady?!

Exhausted? Yep, me too. Deciding on which shows to see first will be a big decision for many theatregoers, and with most tickets at an average top price of £55, you could end up spending around £400 on your habit. Which show is your number one priority, and which one is your eighth?! I'll remain impartial on the issue, but I certainly know which ones I'll be heading for first. Whatever you choose to see, there's no denying this is one hell of an impressive season.. enjoy!

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