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Hello Harry!, an online concert celebrating the incredible 40-year career of Harry Gabriel, the Shaftesbury Theatre’s Stage Door Keeper, was an absolute ray of sunshine.
As his new digital sheet music store New UK Musicals launches, I talk with multi-award winning composer and lyricist Darren Clark about the site and his career.
Hairspray Live! is such a joyous show it should perk up many a flagging spirit. It proves far superior to the previous week's NBC Live offering of The Sound of Music.
Sometimes a musical just doesn’t grab you, and so it was for me with Rags The Musical. The universe clearly wants me to hear it one way or another though, as Ghostlight Records are now rel…
Finally, a show I haven’t seen before being streamed! And what a beauty Pieces of String turned out to be.
“Sometimes it’s good to remember‘Sometimes it’s good to forget'”
Vocal group The Songsmiths’ Tenors of the West End offers up some fascinating harmonies on some classic pop tunes.
Les Misérables – The Staged Concert is released on digital download, along with a bonus featurette which is highly amusing.
There was a moment in the last couple of days as I listened to ‘Make It Right’ for the umpteenth time that I wondered whether I’d been a bit harsh to The Prince of Egypt when it opened…
National Theatre at Home is a huge success. The type of scheme that only large institutions can hope to really pull off but even so, managing the kind of appointment-to-view occasion that wa…
New musical #ZoologicalSociety, written by Vikki Stone and Kate Mulgrew, gets a well-timed concept album release.
Aimie Atkinson is good but deserves far better than Pretty Woman: the Musical, the blatant cash grab at the Piccadilly Theatre.
Lazarus Theatre’s ensemble-based take on Macbeth at Greenwich Theatre proves thrilling in its stylish directorial vision.
In The Prince Of Egypt highly committed cast does their best to ride out inconsistent production choices to deliver work that fills the Dominion well.
I go and see The Extraordinary Time-Travelling Adventures of Baron Munchausen at the VAULT Festival and end up playing a tree with killer leaves.
As rap and spoken word emerge as the primary storytelling modes in Poet in da Corner, along with some evocative dancing, there’s a compelling sense of the potential of what theatre can be.
Jack Robson’s I Woke Up Feeling Electric asks some morally and technologically challenging questions at the Hope Theatre.
In Death of England, Rafe Spall delivers the performance of a lifetime in this punchy monologue by Clint Dyer and Roy Williams at the National Theatre.
The perils of midweek drinking writ large – After(s) examines what it means to be in your mid-twenties today at the White Bear Theatre in Kennington.
The Misadventures of David and Sam proves a good-natured and light-hearted piece of fun family theatre at the VAULT Festival.
A fine revival of Lucy Prebble’s first play The Sugar Syndrome features a strong debut performance from Jessica Rhodes at the Orange Tree Theatre.
Insofar as it is humanly possible for any one person to know everything that is happening at the VAULT Festival this year, I present a handful of my recommendations for 2020.
Conor McPherson’s adaptation of Uncle Vanya featuring Toby Jones and Richard Armitage at the Harold Pinter Theatre is so good you can forgive the “wanging on”.
Lucy Kirkwood returns to the National Theatre with The Welkin, starring a brilliant ensemble led by Maxine Peake.
With its focus on the small things, Sam Steiner’s play You Stupid Darkness! is a delicate but delicious thing at the Southwark Playhouse.
The Other Room’s The Story and Hela make a delightful and daring double bill of Welsh drama at Theatre503.
BAZ Productions’ The Process proves bold and striking in its use of BSL and spoken English, if a little flawed too, now running at the Bunker Theatre.
A musical adaptation of Tom Brown’s School Days at the Union Theatre has some moments, and performances, to treasure.
As well as providing a welcome opportunity for performers to really cut loose, Six also – sadly – remains at the cutting edge of the zeitgeist.
Holy What’s Antigone at the New Diorama shifts the focus of Sophocles’ play onto two young sisters to powerful effect.
Ought To Be Clowns tackles a trio of Broadway cast recordings in the shape of Cole Porter’s The New Yorkers, Kiss Me, Kate! and Beetlejuice.
Ought To Be Clowns barely saw 250 shows this year, quiet by his standards. And as is the way of these things, here’s a rundown of some of the productions that moved me most…