Cameron Mackintosh’s (or is it Matthew Bourne’s?) Oliver! — now at London’s Gielgud Theatre — has the aesthetics of Tommy Kail’s Sweeney Todd.
Continue reading “Reviewing the Situation”
Cameron Mackintosh’s (or is it Matthew Bourne’s?) Oliver! — now at London’s Gielgud Theatre — has the aesthetics of Tommy Kail’s Sweeney Todd.
Continue reading “Reviewing the Situation”
I’m no scholar of antiquity, but my understanding of Greek tragedies is that they oscillate between character scenes and chorus scenes.
Continue reading “Choreous”
When a musical is based on a known property, the powers-that-be seem to believe that adding songs is enough of a change to raise interest in a story that audiences are already familiar with.
Continue reading “Seaside Pub Song”
Unicorn is a dramaturgical thought-experiment.
Continue reading “Trinicorn”
Befitting its subject, Retrograde stages a Raisin in the Sun moment.
Continue reading “Homage in the Sun”
Weather Girl positions the titular stereotype as a performance-art allegory for projecting culturally-popular femininity, and for society maintaining a cheery facade as the world approaches the climate brink.
Continue reading “Let the Sunshine Out”
Does London’s Almeida Theatre have a contract stipulation that each and every one of their transfers must retain the building’s natural backdrop?
Continue reading “A Streetcar Named Almeida”
Here are my favorite movies — and one show! — that focus primarily on depicting life during Covid:
Continue reading “What We Went Through”
Casting can change the meaning of a play.
Continue reading “Miniatures”
It’s been said that the bedrock of theatrical expression is the movement of bodies in space.
Continue reading “Bodies Bodies Bodies”