Sweeney Todd sits awkwardly between genres: it is certainly not a populist jukebox easy-watching affair but is generally seen as a musical, nonetheless. Logically, however, it really should be an opera. Its plot is so melodramatic that it makes Tosca seem positively gritty and realistic and is musically highly complex and symphonic. Continue reading →
Following good reviews for the revival of Andrew Lloyd Webber’s Cats at the London Palladium, rumours are circulating that producers are planning to extend the run beyond its current booking period which ends on 7 February. Continue reading →
Showbusinessinsights does not usually review shows, but Kerry Ellis’ return to Wicked prompted me to get tickets and watch the show again. I had not seen the show for a few years so was interested to see how it is getting on – in the week that it overtook Me & My Girl to become the 14th longest-running show in the West End.
When a show is hit by bad news, how do you react? Crises sort the wheat from the chaff and the inexperienced or timid can be overwhelmed. But the truly successful not only cope with it, but make a virtue of it.
The producers of Dirty Rotten Scoundrels appear to be re-positioning the show – emphasising elegance and dance and de-emphasising the comedy. Will this bring greater box office success? And what does this tell us about the state of the West End?
When I Can’t Sing was put out of its misery at the London Palladium and We Will Rock You ended its 12-year residency at the Dominion, two of London’s five largest theatres went dark at the same time for the first time in decades. Continue reading →