In Memoriam: Stephen J. Lawrence

Emmy-winning composer Stephen J. Lawrence died December 30 at Clara Maass Medical Center in Belleville, N.J. Born September 5, 1939, in New York, Lawrence grew up in Great Neck on Long Island among a musical family. He “was one of those five-year-olds who could walk to the piano and play anything,” his wife told NPR. Lawrence’s dad “loved to show Stephen off,” she added. “His father would play a chord, and Stephen would call out the notes.” While studying music at Hofstra University, Lawrence began writing shows. Below is a clip of the overture and opening song (“Another Morning”) from his 1960 college musical The Delicate Touch, with book and lyrics by Francis Ford Coppola.

After college, Lawrence found work Off-Broadway, contributing material to the 1965 revue Just for Openers as well as orchestrations for Great Scot! (1965) and Now Is the Time for All Good Men (1967). He made his film debut with the score for the 1971 drama Jennifer on My Mind. The next year, he contributed songs to the Marlo Thomas album Free to Be … You and Me, including the title track (lyrics by Bruce Hart). Below is the title song sung by the New Seekers in the 1974 ABC-TV special. Lawrence also wrote for the 1974 Children’s Television Workshop series Feeling Good and the 1979 NBC-TV movie Sooner or Later, which included Rex Smith’s Top Ten hit “You Take My Breathe Away,” which you can watch below.

https://youtu.be/_26FOHoaC78

Lawrence spent most of the next few decades writing for Sesame Street, winning three Emmys from 10 nominations that the music department earned. Below is the 1981 song “Fuzzy and Blue (and Orange)” (lyrics by David Axelrod) sung by Grover, Herry Monster, and Cookie Monster. His other work in the 1980s included the CBS-TV special Dorothy in the Land of Oz (1980), the Off-Broadway revue A … My Name Is Alice (1984), and several films for Cannon Movies Tales, including Red Riding Hood (1987). Below is Isabella Rosselini singing “You Won’t Be Here in the Morning” (lyrics by Michael Korie).

In 1991, Lawrence wrote incidental music for Tracey Ullmann’s Broadway solo The Big Love and the animated musical The Tale of Peter Rabbit for HBO’s Storybook Musicals. Below is “So Near and Yet So Far” (lyrics by Sheldon Harnick) sung by Harry Barandes. He also contributed to the 1996 Off-Broadway revue A … My Name Will Always Be Alice and the 1996 Nickelodeon TV series The Wubbulous World of Dr. Seuss. He ended the decade by co-founding Quill Entertainment, which creates children’s musicals about U.S. history. Below is a montage of the company’s work.

Lawrence’s recent musical work includes the albums Elmo’s Coloring Book (2004) and Elmo Makes Music (2006) as well as the 2006 revue Hats! and 2009 children’s musical No Dogs Allowed, written with Sonia Manzano and Billy Aronson.

Posted in People, Writers | Tagged , , , , , , | Leave a comment

Spring Awakening Review Roundup

London theater critics have given generally positive reviews to Almeida’s revival of the 2006 musical Spring Awakening, based on Frank Wedekind’s 1891 play. The creative team includes Steven Sater (book, lyrics), Duncan Sheik (music, orchestrations), Rupert Goold (direction), Lynne Page (choreography), Miriam Buether (production design), Nicky Gillibrand (costumes), Jack Knowles (lights), Tony Gayle (sound),  Jo Cichonska (music direction), and Simon Hale (orchestrations). The cast includes Laurie Kynaston (Melchior), Amara Okereke (Wendle), and Stuart Thompson (Moritz), with Nathan Armarkwei-Laryea (Hanschen), Asha Banks (Thea), Taylor Bradshaw (ensemble), Catherine Cusack (adult women), Carly-Sophia Davies (Ilse), Kit Esuruoso (Otto), Mark Lockyer (adult men), Bella Maclean (Martha), Emily Ooi (ensemble), Joe Pitts (Georg), Maia Tamrakar (Anna), and Zheng Xi Yong (Ernst). The show runs through January 22.

Culture Whisper (Holly O’Mahony): While there’s plenty to admire about the production … Goold misses a trick in not making this story, with its timeless and universal theme of teenage angst, feel more current. … The decision to leave the narrative in an archaic world of draconian teachers brandishing canes … renders Spring Awakening a period piece, when it has all the potential to speak of the teenage experience today. … The chance to watch its accomplished cast perform Sater’s songs with raw passion makes it a run worth rooting for. 3 out of 5 stars.

Guardian (Arifa Akbar): This revival is marked for the abundant talent in its young cast. … The problem, though, are the emo, rock and pop songs with music and lyrics that sound repetitive, banal and ultimately soporific. They come at quite a pace too, impeding the narrative flow so the first half feels episodic. … Characters controlled by repressive social and sexual codes look as if they have stepped out of a teen Netflix drama and dance in boy- and girl-band formations, with choreography that seems to have been adopted from a reality TV contest. … The performances are all striking and the leads seem on their way to becoming tomorrow’s stars. 3 out of 5 stars.

Time Out (Andrzej Lukowski): I was blown away by the Almeida’s revival of Spring Awakening which made it all the way to press night against pretty steep odds. … If the original was better than Rupert Goold’s newie then it must have been bloody incredible. … It is an exceptionally good ensemble. … And they’re a true ensemble, bound together by the remarkable songs and Lynne Page’s superb choreography. … This young cast is phenomenal. They’d be phenomenal in normal times, but there was something particularly emotional about their curtain call, just standing here and defying the odds, savouring the show that should be their big break. 5 out of 5 stars.

WhatsOnStage (Sarah Crompton): The production is a triumph, a piercing beam of light into the way that the adult world simultaneously ignores and suppresses young people. … The themes of the piece speak with loud contemporary clarity in this virtuosic staging directed by Rupert Goold with force and steely brilliance. … The cast themselves provide the flames of individuality that illuminate the space. … They sing terrifically too. … It is a triumphant achievement and I wish it a long run and full houses. 4 out of 5 stars.

Posted in London, Shows | Tagged , , | Leave a comment

She Loves Me Review Roundup

British theater critics have given generally positive reviews to the Sheffield revival of the 1963 musical She Loves Me, adapted from the 1937 play Parfumerie by Miklós László, which is playing at the Crucible Theatre through January 15. The creative team includes Joe Masteroff (book), Jerry Bock (music), Sheldon Harnick (lyrics), Robert Hastie (direction), Ben Stones (production design), Caroline Humphris (music direction), Ewan Jones (choreography), Jessica Hung Han Yun (lights), Jason Carr (orchestrations), and Mike Walker (sound). 

The cast Includes Adele Anderson (Maitress D’), Lewis Cornay (Arpad Laszlo), Andy Coxon (Steven Kodaly), Marc Elliott (Ladislav Sipos), Kaisa Hammarlund (Ilona Ritter), Karl Seth (Zoltan Maraczek), David Thaxton (Georg Nowack), and Alex Young (Amalia Balash), with ensemble members Zac Adlam, Michael Anderson, Alex Christian, Kamau Davis, Lawrence Guntert, Samantha Hull, Kate Playdon, Gleanne Purcell-Brown.

Guardian (Nick Ahad): Characters in the grip of crushing loneliness, laments on a life wasted: it doesn’t feel very Christmassy. It does, however, feel like a musical for now; festive love in a time of Covid. … The story of a warring couple who fall in loathe-at-first-sight … brought together Tom Hanks and Meg Ryan in You’ve Got Mail. … David Thaxton and Alex Young have a charm … but play the piece with a postmodern sensibility. … The pair find layers to their performances; this is deeper than your average romcom and while it lacks the big numbers … it does have something to say about the sadness that can accompany the sleigh bells at this time of year. 4 out of 5 stars.

WhatsOnStage (Ron Simpson): Sheffield Crucible has a fine record of high-energy blockbuster musicals at Christmas, but She Loves Me comes out of quite a different stable. Not that there’s any lack of energy … but the tone is quite different, sophisticated, almost European. … David Thaxton and Alex Young play Georg and Amalia in suitably anti-romantic style, he disturbed by her intrusion into his nonchalantly self-satisfied lifestyle, she aspirational, prickly, more obviously on the edge, both revealing romantic dreams in stolen moments. … This is an intimate musical successfully translated into an epic acting area. 4 out of 5 stars.

Posted in Regional UK, Shows | Tagged , | Leave a comment

Sing 2 Review Roundup 

Film critics have given mixed reviews to the Universal computer-animated feature Sing 2, the sequel to the 2016 film Sing. The creative team includes Garth Jennings (screenplay, direction), Christophe Lourdelet (direction), Gregory Perler (editing), and Joby Talbot (score). The voice cast includes Matthew McConaughey (Buster), Reese Witherspoon (Rosita), Scarlett Johansson (Ash), Taron Egerton (Johnny), Bobby Cannavale (Mr. Crystal), Tori Kelly (Meena), Nick Kroll (Gunter), Pharrell Williams (Alfonso), Halsey (Porsha Crystal), Chelsea Peretti (Suki), Letitia Wright (Nooshy), Eric André (Darius), Adam Buxton (Klaus), Garth Jennings (Miss Crawley), Jennifer Saunders (Nana), Nick Offerman (Norman), Julia Davis (Linda Le Bon), and Bono (Clay Calloway).

AP (Jake Coyle): Sing 2 … packs the jukebox again with more than 40 songs, from BTS to Billie Eilish. … But writer-director Garth Jennings’ films are a little — a little, not a lot — more than a string of pop tunes strung together in a frenetic, sugary cartoon confection. The movies are about the collaborative, shambolic thrill of live performance. … It’s all amiable, shallow and occasionally sweet. … If any narrative thread holds the movie together, it’s each character dealing with their own version of anxiety, fear and stage fright as performers. While a laudable message for a kids movie, it’s drowned out by the movie’s commercialized blare. 2 stars out of 4. 

Globe & Mail (Aparita Bhandari): The movie delivers on many levels. There’s the fun of seeing how pop songs make it into the thematic explorations. … There are several visual gags and funny lines. … Then, there are the power anthems. … Sing 2 does have its shortcomings. It works better if you’ve already watched the original, and know the narrative arcs of the characters. As a sequel, it doesn’t do much to give each character a chance to develop. And, given the number of songs worked into the script, there’s a music video quality to the film. If you’re looking for some lighthearted distraction from the worries of the world right now, however, give Sing 2 a shot.

Hollywood Reporter (Justin Lowe): One of the biggest surprises of Sing … was how well the cast’s musical performances came together. … If anything, Sing 2 exceeds that memorable accomplishment. … It falls to Ash to convince Calloway to emerge from self-imposed retirement. It’s in these few scenes between Johansson and Bono that writer-director Jennings’ script achieves a new level of emotionally driven storytelling for the franchise. … While Calloway’s decision may be a foregone conclusion, it’s in no way adequate preparation for the film’s finale, which reveals just how far Jennings has progressed in mastering the possibilities of animation.

New York Times (Amy Nicholson): Sing 2, a grasping sequel by the returning director Garth Jennings … is all glitz and no heart. … Buster stages a mega-musical spectacular that crossbreeds Cirque du Soleil with the old Pigs in Space sketch on The Muppet Show. There’s also a scattered plot that involves zip lines, snooty choreographers, disgruntled construction workers and an egomaniacal yak. At least the cover songs still have pep. A gorilla belts Coldplay, a slug raps Drake, and, in what passes for the emotional climax, Bono croons one of his own classics in character as a reclusive rock star lion who, in this parallel universe, wrote one of U2’s greatest hits.

Variety (Peter Debruge): If Sing 2 sounds like a shameless excuse for a bunch of celebrities to perform cover versions of Top 40 hits while animated animals lip-sync the lyrics for our amusement … well, that’s essentially what it is. … Illumination has engineered another easy-to-swallow confection designed to maximize audience delight … although this time, there’s almost zero nutritional value. … Sing 2 isn’t really about coherent storytelling so much as analyzing and anticipating what will make audiences feel good. … Sing 2 features some of the funniest and most fully rendered animation in the studio’s oeuvre to date. However, whereas Buster Moon refuses to settle for being second-rate, … Illumination evidently considers that the sweet spot.

Posted in Film, Shows | Tagged , , , | Leave a comment

Emmet Otter’s Jug-Band Christmas Review Roundup

New York theater critics have given generally positive reviews to the Off-Broadway stage adaptation of Emmet Otter’s Jug-Band Christmas, based on the 1977 TV special that was adapted from the children’s book by Lillian and Russell Hoban. The creative team includes Timothy Allen McDonald (book), Christopher Gatelli (book, direction, choreography), Paul Williams (music, lyrics), Larry Pressgrove (music direction, arrangements), Dan DeLange (orchestrations, arrangements), Anna Louizos (sets), Jen Schriever (lights), Gregg Barnes (costumes), Matt Kraus (sound), Jim Henson’s Creature Shop (puppets), and John Tartaglia (puppet direction). The limited engagement continues at New Victory Theatre through January 2. 

The cast includes Cass Morgan (Ma Otter), Colin Trudell (Emmet Otter), Jordan Brownlee (Doc Bullfrog), Kevin Covert (Mayor Fox), Steven Huynh (Wendell Porcupine), LaVon Fisher-Wilson (Mrs. Mink / Hetty Muskrat / Mme. Squirrel), Beverly Badger (Mrs. Fox), Matt Furtado (Skippy Squirrel / Yancy Woodchuck / Stan Weasel), Jakeim Hart (Harvey), Anney Ozar (Old Lady Possum), J. Antonio Rodriguez (Charlie / Will Possum), and James Silson (Jiffy Squirrel / Fred Lizard).

JK’s Theatre Scene (Mike Murphy): New Victory’s version … is not only just as delightful as the original, but enhances and expands on the experience in unexpected ways. The design elements closely match those seen in the TV special, but build on them in some important respects, and of course are rendered more magical by seeing them live and in person. … I recommend this production to everyone, young and old. If you’ve seen the TV special, you will savor the familiar and eat up the new elements. If you haven’t seen it, you’re in for a treat, and you can rest assured that it will be an easy story to follow, even for young kids. Grade: A.

New York Times (Alexis Soloski): [Gattelli and McDonald] have gussied up the libretto nicely, giving the furry characters a bit more depth and enlivening the talent show. Mostly unchanged are Paul Williams’s superb songs. … Williams’s music is naïve without condescension, as playful as it is heart-whole beautiful. … The message, which celebrates fellow feeling and mutual care, is especially welcome right now. I would have taken home every single squirrel.

Posted in Off-Broadway, Shows | Tagged , , , , , | Leave a comment

In Memoriam: Harvey Evans

Beloved veteran performer Harvey Evans, who appeared in 14 Broadway musicals, died Christmas Eve at the Actors Fund Home in Englewood, N.J. Born Harvey Hohnecker on January 7, 1941 in Cincinnati, Evans fell in love with musical theater after seeing a touring production of Song of Norway. “My entire childhood was spent waiting to graduate from high school so I could go to New York and be in a Broadway show,” he told Playbill in 2007. Immediately after high school, he made the move, guided by his friend Kenneth Urmston, who had made a similar move a few years earlier.

His first break was as a dancer in the national tour of Damn Yankees (1956), where he met Bob Fosse, which led to roles in the films Silk Stockings, The Pajama Game, and The Girl Most Likely and his Broadway debut in New Girl in Town (1957). While in that show, Evans begged Harold Prince to audition for the upcoming West Side Story. He became the first Jet replacement and stayed with the show until 1959, when he joined Redhead and then Gypsy, in which he played Tulsa. Below are Evans and Gwen Verdon in “Who’s Got the Pain?” from Damn Yankees on Ed Sullivan’s 1973 TV special.

Evans began the next decade as Mouthpiece in the Oscar-winning West Side Story (1961). In 1964, he danced on screen in Mary Poppins (1964) and on stage in the original cast of Anyone Can Whistle (1964). He then played Barnaby in the national tour of Hello, Dolly! (1965) and on Broadway (1967), before appearing in the original cast of George M! (1968). In the 1970s, he was on Broadway in The Boyfriend (1970), Follies (1971) as Young Buddy, the 1973 benefit Sondheim: A Musical Tribute, and the short-lived Sextet (1974). He also danced in TV productions of Dames at Sea (1971) and Applause (1973). Below is the “Jet Song” from West Side Story. Evans is to the left of Russ Tamblyn in the opening and the Jet in the final closeup in the ending.

Evans was back on Broadway in 1980 as standby for Jim Dale in Barnum, before going on the road in the national tours of that show (1983) and La Cage aux Folles (1987). In the 1990s, Evans danced in the out-of-town tryout of Annie Warbucks (1992) and its 1993 Off-Broadway run, before returning to the Broadway and national tours of Sunset Boulevard (1994) and The Scarlet Pimpernel (1997). Below is a bootleg of Evans (as Albin) and Larry Kert in La Cage (singing “With You on My Arm” at 3:02).

His recent work includes the National Music Theater Network recording of Shine! (2001), the 2002 revival of Oklahoma!, the 2005 benefit Children and Art, the Encores! concert of 70, Girls, 70 (2006), the film Enchanted (2007), the 2009 studio cast album of Allegro, and the world premiere of Alan Menken’s Leap of Faith (2010). Below you can watch Evans in “That’s How You Know” from Enchanted (wearing the yellow jacket at 1:07).

Posted in People, Performers | Tagged , , , , , , | Leave a comment

Once upon a One More Time Review Roundup

The new Britney Spears jukebox musical, Once upon a One More Time, has received generally positive reviews from theater critics for its world premiere in Washington, DC. The creative team includes John Hartmere (book), David Leveaux (creative consultant), Keone & Mari Madrid (direction, choreography), Britt Bonney (music direction), Loren Elstein (costumes, hair), Anna Fleischle (sets), Sonoyo Nishikawa (lights), Andrew Keister (sound), Sven Ortel (video, projections), and Ashley Rae Callahan (wigs). The show plays at Shakespeare Theatre Company through January 9.

The cast includes Briga Heelan (Cinderella), Justin Guarini (Prince Charming), Emily Skinner (Stepmother), Aisha Jackson (Snow White), Brooke Dillman (Original Fairy Godmother), Mimi Scardulla and Tess Soltau (Stepsisters), Ashley Chiu (Sleeping Beauty), Raymond J. Lee (Clumsy), Wonu Ogunfowora (Rapunzel), Ryan Steele (Prince Erudite), Morgan Weed (Princess and the Pea), Lauren Zakrin (Little Mermaid), Michael McGrath (Narrator), and Adrianna & Mila Weir (Little Girl), with ensemble members Belinda Allyn (Belle), Stephen Brower (Prince Suave), Jennifer Florentino (Little Red Riding Hood), Selene Haro (Gretl), Joshua Johnson (Prince Brawny), Amy Hillner Larsen (Goldilocks), Kevin Trinio Perdido (Prince Mischievous), Stephen Scott Wormley (Prince Affable), and swings Matt Allen, Salisha Thomas, Matthew Tiberi, and Diana Vaden.

Guarini and Heelan (photo by Matthew Murphy)

Broadway World (Hannah Wing): The musical’s story is a bit more Grimm than Disney as the princesses and other familiar fairytale characters struggle to find their voices against the Narrator and his patriarchal world. … This modern fairytale is missing something that even the magic of a fantastic cast and high-quality production might not be able to fix. A Cinderella-focused story can only go so far, especially as it has been done time and time again. … Once Upon a One More Time is close to “happily ever after,” but it has some workshopping to do before it becomes a fairy tale fit for Broadway royalty.

DC Metro (Nicole Hertvik): It works. Somehow, Once Upon a One More Time and its improbable storyline featuring Britney Spears, Betty Friedan, and fairy tale princesses works. The incongruous musical … is as thought-provoking as it is toe-tapping, as clever as it is hilarious, as bold as it is shiny. It sounds like the world’s wackiest idea for a musical until you’ve seen it, but by golly, it works. … Once Upon a One More Time is a full-fledged, grade A, gold star success and exactly the party we need. … Once Upon a One More Time is a bona fide success. Catch this one, DC, before it hightails it to Broadway.

Georgetown Dish (Peter Rosenstein): Go see and enjoy Once Upon a One More Time now. It’s a great big fun night in the theater. Whether it gets to Broadway is another question. … The show is in pre-Broadway mode and it appears that’s a good thing. It doesn’t seem quite ready for Broadway. The set design sometimes seems a little chaotic and there often seem to be too many people on stage at one time.  … Yet each number on its own is wonderful. This is why shows do out-of-town tryouts. It is my hope this show gets tightened up so Broadway audiences will get to see it. There is so much that is really great about it. This talented cast should be on Broadway.

New York Times (Maya Phillips): From the outside, Once Upon a One More Time looked like the kind of splashy show you might find on Broadway. … But as I watched the show, I wondered: Who is the target audience for this? So many Broadway shows are aimed at a general audience, and similarly, Once Upon a One More Time seems to want to appeal to both children and adults. … In aiming for a Broadway stage, Once Upon a One More Time still seems to be figuring out what its prospective audience would look like. With its blatant messaging about female empowerment and revisionist approach … Once Upon a One More Time reflects the broad strokes of modern-day feminism but shies away from anything too hefty or complex.

Posted in Regional US, Shows | Tagged , , | Leave a comment

In Memoriam: Sally Ann Howes

Tony nominee Sally Ann Howes died Sunday in Palm Beach Gardens, Fla. Born in London on July 20, 1930, Howes came from a theatrical family, but she had only acted in school productions when a family friend suggested her for a role in the 1943 film Thursday’s Child, which launched her professional career. After her second film, Howes signed a contract with Ealing Studios. At 18, she signed with the Rank Organisation, but she soon became unhappy with the roles she was receiving and with being loaned out so often to other studios, so she terminated her film contract.

In 1950, she made her TV debut in a BBC version of Cinderella and her first professional stage appearance in the Sandy Wilson musical Caprice. She followed that with the musicals Bet Your Life (1952), the West End premiere of Paint Your Wagon (1953), Romance in Candlelight (1955), and Summer Song (1956). She moved to New York in 1958, when she married Richard Adler, and made her Broadway debut replacing Julie Andrews in My Fair Lady. Howes ended 1958 with the TV adaptation of The Gift of the Magi, which Adler wrote for her. Below is a rare demo recording of Paint Your Wagon featuring Howes and Ken Cantril.

When her contract in My Fair Lady ended, Howes went back to England to tape the ITV variety series The Sally Ann Howes Show (1959), before returning to Broadway in Adler’s short-lived Kwamina (1961). In 1962, Howes starred in New York City Opera’s revival of Brigadoon, which brought her a Tony nomination for best actress. She then appeared in the Broadway musical What Makes Sammy Run? (1964) and reprised her performance in Brigadoon for a 1966 Emmy-winning TV broadcast. She ended the decade as Truly Scrumptious in Chitty Chitty Bang Bang (1968), which you can sample below.

After her 1970 TV pilot Prudence and the Chief, a spoof on The King and I, wasn’t picked up, Howes performed almost exclusively on stage. She toured the US as Maria in The Sound of Music (1972), toured the UK as Anna in The King and I (1973), then returned to London for the 1977 stage adaptation of Hans Andersen. During the 1980s, she appeared in BBC’s music hall program The Good Old Days (1982-83) and sang on the studio cast recording of I Remember Mama (1985). Below are Howes and King and I costar Peter Wyngarde singing (from 4:04) on Russell Harty’s chat show.

In 1990, she starred as Desiree in New York City Opera’s production of A Little Night Music, which was taped for the PBS-TV series Live from Lincoln Center, and debuted her one-woman show, From This Moment On, at the Edinburgh Festival. Her other work in the decade included a return to New York City Opera as the Fairy Godmother in Cinderella (1993), the 1995 concept album of Great Expectations, and the Kennedy Center concert of Where’s Charley? (1998). Below is Howes singing “Send in the Clowns” from A Little Night Music.

Her most recent credits include James Joyce’s The Dead, which she peformed Off-Broadway (1999) and on Broadway (2000), earning a Drama Desk nomination for best featured actress, as well as Dear World at Goodspeed (2000), and Cameron Mackintosh’s US tour of My Fair Lady (2007) as Mrs. Higgins. Below is the cast of The Dead at the 2000 Tony Awards.

Posted in People, Performers | Tagged , , , , , | Leave a comment

Time: Best Theater of 2021

This week, deputy editor Eben Shapiro of Time magazine published his list of “The 10 Best Theater Performances of 2021,” honoring “the best theater had to offer in this year when audiences returned, sometimes tentatively, to their seats and performers returned, most often triumphantly, to the stage.” His first pick was Only an Octave Apart at Brooklyn’s St. Ann’s Warehouse, in which the unlikely duo of cabaret singer Justin Vivian Bond and countertneor Anthony Roth Costanzo offered “a profoundly moving performance, with the audience collectively realizing how much we had missed the fizz of a live performance.”

Shapiro’s next two musical picks were a pair of Stephen Sondheim shows: Classic Stage Company’s Off-Broadway revival of Assassins and the Broadway transfer of the 2019 Olivier-winning West End revival of Company. Though Shapiro found the former production problematic, “the caliber of the cast and the soulfulness of their performances carried the day.” The latter production had “gorgeous sets, a killer 14-piece orchestra and Patti LuPone’s show-stopping ‘Ladies Who Lunch.’”

His final two musical picks were a pair of Jeanine Tesori shows: the Broadway transfer of the 2018 Olivier-nominated West End revival of Caroline, or Change and the Atlantic Theater Company’s premiere of Kimberly Akimbo. Shapiro, who’s seen two previous New York revivals of Caroline, found “this crackling production is my favorite today,” while Kimberly was “a near perfect night of theater … funny, sad and incredibly fresh.”

Posted in Best of the Year, Reference | Tagged , , , , , , , | Leave a comment

Guardian: Favorite Stage Shows of 2021

The culture editors of The Guardian have curated a selection of theatrical offerings from around the U.K. that were among the favorites of their readers this past year. Four musicals made the list, including with the London revival of the 1934 show Anything Goes, which began performances in July at the Barbican and will embark on a UK  tour at Bristol’s Hippodrome in April, returning to the Barbican for a limited run next July.

The Curve’s Leicester revival of the 1993 Tony-winning Sunset Boulevard earned notice for its inventive streamed reimaging, “with the melodramatic tale now seeming to take place among the paraphernalia of a movie lot and abandoned cinema.” The show is available online through January 17.

The third production on the list is the Sheffield revival of the 2010 musical The Addams Family, whose “momentary breach of the fourth wall made the experience that much more communal” and “raised the performance” during its limited run in November at the Lyceum Theatre.

The final acclaimed production is Amanda Whittington’s original Fisherman’s Friends, based on the 2019 film, which premiered October 13 at the Cornwall Playhouse’s Hall for Cornwall in Truro. This “most joyous, uplifting, feel-good musical” will next tour the UK, beginning at Plymouth’s Theatre Royal in September.

Posted in Best of the Year, Reference | Tagged , , , , , , | Leave a comment