A-Z: West End theatre shows on now in London

Corteo is quintessential Cirque du Soleil, insofar as it has a clear, simple and alluring theme that it flubs totally, but has such jaw-dropping set pieces that you don’t exactly leave with dramaturgical quibbles at the front of your mind. And by ‘jaw-dropping set-pieces’ I mean there’s a bit where the audience is invited to bounce a performer of diminutive stature strapped to four large inflatable balloons around the Royal Albert Hall as if she were a human volleyball. Is that… okay? I’m going to be honest, it didn’t feel 100 percent okay to me, although one-metre tall Ukrainian performer Valentyna Paylevanyan seemed to be having fun. Nonetheless, I’m unlikely to forget it, even if I wanted to: and that’s Corteo, baby! Created and directed by Daniele Finzi Pasca, the show is apparently influenced by nineteenth century Italian clowning, and is possibly set at the funeral of Stephane Gentili’s Mauro the Dreamer Clown, although it is often very hard to tell. ‘Whose funeral is this?’ somebody asks at one point, during one of the brief bits that actually look like a funeral. ‘I don’t know’ replies another, which possibly looks a bit Beckettian on paper but in fact pretty much sums up how half baked the concept is. Clown funerals are a thing! Why not do something coherent with the idea? A circus show doesn’t need a story per se, but Corteo’s refusal to explore its own premise is so pathological it speaks of demand avoidance. Still, if you’re here for setpieces, Corteo delivers...

The original NT theatre Hadestwon cast of Reeve Carney (Orpheus), André De Shields (Hermes), Amber Gray (Persephone), Eva Noblezada (Eurydice) and Patrick Page (Hades) will reunite at the West End production Feb 11-Mar 9 2025. What a long, strange trip it’s been. Indie-folk musician Anaïs Mitchell’s musical retelling of the Orpheus story began life in the mid-’00s as a lo-fi song cycle, which she gigged around New England before scraping the money together to record it as a critically acclaimed 2010 concept album that featured the likes of Bon Iver’s Justin Vernon and Ani DiFranco on guest vocals as the various mythological heroes and villains. Going through the next 14 years blow-by-blow would be time-consuming, but in short thanks to what I can only describe as THEATRE MAGIC, Hadestown is now a full-blown musical directed by the visionary Rachel Chavkin, its success as a show vastly outstripping that of the record. It played the National Theatre in 2018, on its way to becoming the most unusual Broadway smash of the modern era. And it’s finally come back to us. Now in a normcore West End theatre, its otherness feels considerably more pronounced than it did at the NT. The howling voodoo brass that accompanies opener ‘Road to Hell’ is like nothing else in Theatreland. Mitchell”s original songs are still there but have mutated and outgrown the original folk palette thanks to the efforts of arrangers Michael Chorney and Todd Sickafoose. Rachel Hauck’s set – which barely...

This review is from 2017. See official website for the current cast. Okay, let’s just get this out of the way. ‘Hamilton’ is stupendously good. Yes, it’s kind of a drag that there’s so much hype around it. But there was a lot of hype around penicillin. And that worked out pretty well. If anything – and I’m truly sorry to say this – Lin-Manuel Miranda’s musical about Alexander Hamilton, the first secretary of the US Treasury, is actually better than the hype suggests. That’s because lost in some of the more waffly discourse around its diverse casting and sociological import is the fact that ‘Hamilton’ is, first and foremost, a ferociously enjoyable show. You probably already know that it’s a hip hop musical, something that’s been tried before with limited success. Here it works brilliantly, because Miranda – who wrote everything – understands what mainstream audiences like about hip hop, what mainstream audiences like about musical theatre, and how to craft a brilliant hybrid. Put simply, it’s big emotions and big melodies from the former, and thrilling, funny, technically virtuosic storytelling from the latter. ‘Alexander Hamilton’, the opening tune, exemplifies everything that’s great about the show. It’s got a relentlessly catchy build and momentum, a crackling, edge-of-seat sense of drama, and is absolutely chockablock with information, as the key players stride on to bring us up to speed with the eventful life that Hamilton – the ‘bastard, orphan, son of a whore and a...

In the unlikely event you were worried a leap to the stage for JK Rowling’s Harry Potter series would result in it becoming aggressively highbrow, self-consciously arty or grindingly bereft of magical high jinks, just chill the hell out, muggle.  ‘Harry Potter and the Cursed Child’ is an absolute hoot, a joyous, big-hearted, ludicrously incident-packed and magic-heavy romp that has to stand as one of the most unrelentingly entertaining things to hit the West End. Writer Jack Thorne, director John Tiffany and a world-class team have played a blinder; if the two-part, five-hour-plus show is clearly a bit on the long side, it’s forgivable. ‘The Cursed Child’ emphatically exists for fans of Harry Potter, and much of its power derives from the visceral, often highly emotional impact of feeling that you’re in the same room as Rowling’s iconic characters.  There’s also a sense that this story of wizards and witches is being treated with the respect its now substantially grown-up fanbase craves. No disrespect to D-Rad and chums, but the leads here are in a different acting league to their film counterparts’: Jamie Parker and Alex Price are superb as battered, damaged, middle-aged versions of old enemies Harry Potter and Draco Malfoy. Sam Clemmett and Anthony Boyle are a fine, puppyish, sympathetic engine to the play as their awkward sons Albus and Scorpius, trying to escape their parents’ shadows. It is a bit of a sausage (wand?) fest in terms of the lead parts, although in the...

Think the past couple of years have been rough? Try surviving a Martian invasion only to be captured by an enormous fighting machine and having your blood harvested, ‘The Matrix’-style, in a stifling capsule. That’s the 1898 envisaged by H.G. Wells in his pioneering sci-fi thriller ‘The War of the Worlds’, which was then adapted by Jeff Wayne in his 1978 prog sci-fi album, which imbues Wells’s Victorian tale with rock-opera camp and steampunk kitsch. It’s this rather Marmite pop culture relic that forms the basis of this immersive theatre experience. It launched back in 2019, but it’s changed a fair bit since then. Presumably, techy immersive theatre company Layered Reality has finessed the VR and AR (augmented reality) tech, because now it’s slick AF. In fact, at times it’s terrifying… in the best possible way.  Take for example the moment that I stood, ensconced in a VR-enhanced Fighting Machine capsule, and felt something actually pinch me. I screamed into what (through my VR goggles) I perceived as a hellish Martian human-blood farm. I heard other screams in the distance – my fellow survivors in the booths beside me.  But it’s not all jump scares. The 24 scenes that make up the experience are incredibly varied; as per Jeff Wayne’s album, we follow the path of The Journalist, starting with his first glimpse through a telescope of noxious green gas emerging from Mars. We duck through tunnels, climb through windows and ride hot air balloons, encountering actors who are,...

This review is from 2019. I would seriously question whether any other show on the planet bar ‘Les Misérables’ could get away with junking its original production and carrying on as if nothing had changed. But ‘Les Mis’ could be transposed to space, or underwater, or to the height of the Hittite empire and it would basically be the same show as long as the singing was on point. In case you missed it: the world’s longest-running musical that’s still playing shut for six months recently while the Sondheim Theatre (née Queen’s Theatre) was renovated by proprietor and producer Cameron Mackintosh. It has returned, not in the original Trevor Nunn RSC production, but a new(ish) one from Laurence Connor and James Powell that has already been rolled out around the globe, with London the last bastion of the ‘classic’ ‘Les Mis’. The ditching of the original has caused disgruntlement in certain quarters: hardcore stans distraught that the exact show they grew up with no longer strictly exists; and the original creative team, notably director Nunn, who understandably feel a little betrayed by the whole affair. All I can say is: yup, I really dug the old revolving stage too, but its loss is bearable. The songs are the same, the score is the same (accepting that it was tweaked to make it a bit less ’80s a few years back), the costumes are the same, many of the current cast are veterans of the original production, and the text is still Nunn and John Caird’s adaptation of Claude-Michel...

This review is from 2012. Judy Craymer's bold idea of turning the insanely catchy songs of ABBA into a musical has paid off splendidly, in every sense – box office figures for 'Mamma Mia!' are as eye-watering as its outfits. This is largely because Catherine Johnson had the sense to weave the 1970s into her script, and director Phyllida Lloyd to cast accordingly. Heroine Donna Sheridan lived the free love dream (if only because her boyfriend ran out on her), wound up pregnant and survived to see her daughter, Sophie, reject all her principles in favour of a white wedding and the kind of certainty that comes from knowing which of your mother's three consecutive lovers ought to be walking you down the aisle. If you wanted to, you could see this as a conversation about feminism. But you'll look pretty silly debating patriarchal oppression while on your feet clapping to 'Dancing Queen'. Some of the songs are oddly static, but when the choreography does get going – for instance, when Donna's friend Tanya stylishly quashes a libidinous local puppy in 'Does Your Mother Know?' – it's terrific, and makes great use of props: I wonder if the producers can assure us that no electric drills or hairdryers were harmed in the making of this musical? The current cast appear to have been chosen more for their singing voices than their serious acting ability. But who needs dramatic conviction when you have purest pop to do the convincing for you? Given the songs, a story just about solid...

For the price of a ticket to ‘Mamma Mia! The Party’, an immersive Abba-themed dinner experience set in a ropey taverna on an idyllic Greek island, you could fly out to an actual idyllic Greek island and probably find a ropey taverna playing Abba songs.Okay, there are some practical reasons why you probably wouldn’t do that on a school night. And sure, it’s not like these are the only expensive theatre tickets in town. But the fact is most London theatre shows have a bottom price of £15 or thereabouts; ‘Mamma Mia! The Party’ starts ten times higher than that.Of course, dinner theatre is a somewhat different game to theatre theatre. And the fact is that there are plenty of people who can afford it: the London debut of ‘Mamma Mia! The Party’ is a roaring sellout success already. Masterminded by Abba’s Björn Ulvaeus, it’s an established hit back in Stockholm. Which is not really a surprise: people love Abba, and ‘Mamma Mia! The Party’, though not formally affiliated to ‘Mamma Mia!’ (the blockbuster musical), is pretty much the same idea, except with the plot mostly replaced by food. After a prodigious wait to get in, we’re spirited away to an attractive, convivial mock-up of a taverna on the island of Skopelos, where the ‘Mamma Mia!’ movie was filmed. The wittiest touch of the whole production is to make it ‘post’ the film: the walls are bedecked with dodgy mocked-up Polaroids of the cast of the show posing with Meryl Streep et al, and the wafer-thin plot revolves around the...

The friend who was supposed to come with me to ‘Moulin Rouge! The Musical’ dropped out because of a migraine, and honestly, hard relate: director Alex Timbers’s dementedly maximalist ‘remix’ of Baz Luhrmann’s smash 2001 film is pure sensory overload. Frequently I found myself cackling hysterically at it, on my own, for no particularly good reason, other than how *much* it all is. If you can remember any of the 2001 film’s music beyond ‘Lady Marmalade’ (here present and correct as show opener, complete with sassy, snappy choreography from Sonya Tayeh) you’ll remember that the soundtrack largely consists of medleys of other people’s songs. So we have ‘Sparkling Diamonds’, aka ‘Diamonds are Forever’ smushed into ‘Diamonds Are a Girl’s Best Friend’ or the semi-infamous ‘Elephant Love Medley’, a wilfully preposterous amalgam of the cheesiest lines from myriad famous pop tunes, a veritable one-track sex mix. You have to think that it’s essentially this that drew Timbers and music supervisor Justin Levine to ‘Moulin Rouge!’, as they’ve gone absolutely nuts with the idea, pumping the story full of pop songs old and new, fragmented and whole. Like a glittery cow jacked up with some fabulous experimental growth hormone, ‘Moulin Rouge!’ is now bulked into a veritable behemoth of millennial pop bangers. There are the ones that were in the film. There are some that were around when the film was made but weren’t included (‘Torn’; no kidding, the theme from ‘Dawson’s Creek’). Then there...

‘Remember us from your GCSEs?’ It’s Henry VIII’s six wives – and they’ve back, bitch, to re-tell ‘her-story’ as a slick, sassy girl band. Think Euro-pop remixes of ‘Greensleeves’, Anne Boleyn spouting tweenage text-speak (‘everybody chill/it’s totes God’s will’), and K-Howard warbling #MeToo tales of gropey employers. ‘Hamilton' looms large here, and although ‘Six’ has its own moments of clever-clever hip-hop rhymes, it’s a tough comparison: this musical started life as a student show (Cambridge, obvs). But its creators, Toby Marlow and Lucy Moss, have succeeded in crafting almost brutally efficient pastiche pop songs – here a ballad, there a ballsy, blinging R&B number – performed with snappy dance routines by a talented, diverse cast (and all-female band). Since inception the show seems to have been given a good lick of gloss, too; it stands up in the West End. But beneath its super-shiny surface, ‘Six’ is totes vacuous. And so basic in its feminism that it’s hard to believe it’s written by, like, actual Millennials. The whole thing is staged as a deeply unsisterly competition, each wife getting a song in which to prove they’re the biggest victim, the one who suffered the most at Henry’s hands. This is treated weirdly as comedy though, OTT shrieks and snarks escalating until they’re actually in a catfight, pulling each other’s hair. Several of the wives are characterised as dim and ditzy; some also as sexually provocative and vain. But by adopting the contemporary pop...

This review is from 2013. Brace yourself for a shock: ‘South Park’ creators Trey Parker and Matt Stone’s Broadway-munching musical is not particularly shocking. Sure, there are ‘fucks’ and ‘cunts’ and gags about baby rape – but most of it is deployed ironically; beneath it all, this is a big-hearted affair that pays note-perfect homage to the sounds and spirit of Broadway’s golden age. The strapping young Latter Day Saints missionaries in ‘The Book of Mormon’ are as cartoonish as any ‘South Park’ character, with the endearing alpha-male woodenness of the ‘Team America’ puppets. In other words, they are loveable, well-intentioned idiots, traversing the globe like groups of pious meerkats, convinced they can convert the heathen through sheer politeness. And if they have doubts, then as Stephen Ashfield’s scene-stealingly repressed Elder McKinley declares in glorious faux-Gershwin number ‘Turn it Off’, ‘Don’t feel those feelings – hold them in instead!’ His advice is ignored by the show’s heroes, narcissistic, highly-strung Elder Price (Gavin Creel) and dumpy, lying Elder Cunningham (Jared Gertner). The pair are sent to Uganda in an effort to convert a village to Mormonism, a religion that essentially tells the penniless villagers how great distant America is. The locals are not keen: Price cracks and unwisely clashes with a crazed local warlord; Cunningham makes up his own version of Mormonism which involves fucking frogs to cure oneself of Aids. ‘The Book of Mormon’ is,...

I’m not sure any show ‘deserves’ to be the most successful entertainment event of all time, but I’ll hand it current holder of that title, ‘The Phantom of the Opera’ – it still works hard for its audience. Sure, chunks of Andrew Lloyd Webber’s opus have never left 1986. But whereas describing a musical as ‘stuck in the ’80s’ is usually shorthand for cheap, thin synth orchestration, nothing could be further from the truth here: the portentously swirling keyboards and crunch of hair metal guitar that powers ‘Phantom’s title song have a black hole-like immensity, sucking you in with sheer juggernaut bombast. Mostly, though, ‘Phantom…’ remains strong because its high production values haven’t been allowed to sag. The late Maria Björnson’s design is a heady barrage of ravishing costumes and lavish sets that change frequently, working in everything from pastoral jollity to an ancient Carthaginian theme on the way to the Phantom’s stunning underground lair. It’s totally OTT – in one scene the Phantom zaps at his nemesis Raul with a staff that fires actual fireballs – and anybody who describes the plot (homicidal lunatic grooms girl) as ‘romantic’ should probably be put on some sort of register. But its blazingly earnest ridiculousness and campy Grand Guignol story are entirely thrilling when realised with the show’s enormous budget. And while Hal Prince’s production may have been hailed as rather gauche back in the day, in 2013 it all comes across as rather more tasteful than the...

It wasn’t all about Poirot’s little grey cells or Miss Marple solving murders at the vicarage. In her lifetime, crime writer extraordinaire Agatha Christie wrote 16 plays and a massive 73 novels. Apart from the immortal ‘Mousetrap’, ‘Witness for the Prosecution’ – which Christie adapted in 1953 from an earlier short story – is one of the most famous. Like most of Christie’s work, you can’t say much for fear of ruining the ending. Leonard Vole (a butter-wouldn’t-melt Jack McMullen) is on trial for murdering an older woman who has left everything to him in her will. He insists he’s innocent, but it all rests on the testimony of his wife, Romaine. What will she say on the stand? When Christie adapted her original story, she shifted the focus almost exclusively to the Old Bailey courtroom. Here, Lucy Bailey’s production has the gift of being in the main chamber of London County Hall. Big, austere and grand, it’s the perfect setting for the legal theatrics of Christie’s forensically precise plotting. Some audience members are even addressed as the jury. If the courtroom is a stage, this play is all about performance. Few are as good as Christie at leading us down the garden path, expectations-wise. She constructs her plot like Vole’s barrister, Sir Wilfrid Robarts QC (a charismatic David Yelland), builds his case, before knocking over apparent ‘revelations’ like dominoes. Bailey plays up the melodrama beautifully, in some scenes lighting the judge’s bench like something from a...