“What we need is harmony, fresh air, stuff like that.” Almost 40 years after it first graced the big screen, cult classic film Withnail and I has been adapted for the stage – and it is currently in the middle of a limited engagement at the Birmingham Rep.
“More matter for a May morning.” Given that the majority of Shakespeare’s plays began with outdoor performances of one kind or another, it’s a perfect fit for the leafy surroundings of Regent’s Park – which has made it all the more conspicuous for its absence from the programming over the past few seasons. Owen Horsley steers the ship as this well-loved comedy docks in north London for the next few weeks.
“This way, you win, no matter what.” The Women’s Cricket World Cup Final in the present day, and eighteenth century Calcutta – on the face of it there’s the barest of connections, but when you drill down a bit deeper you can see how the relationship between England and India was first forged. Or, perhaps more accurately, forced.
“People don’t pay to see Reginald Dwight, they pay to see Elton John!” In the sea of ubiquitous biopic-by-numbers that is modern cinema, one film really stood out from the crowd. Dexter Fletcher and Lee Hall’s Rocketman is the epitome of ‘What Would Elton Do?’, as it veers from one multicoloured musical explosion to another; whereas most biographical depictions of a star’s rise to (and fall from) fame in the most straightforward and accurate fashion they can, this is unashamedly a fantasy memoir told from Elton’s nostalgic perspective. And it has finally made its way to the live arena in the UK.
Welcome to a high school reunion with a difference: this one has an uninvited (but secret) guest. In Branden Jacobs-Jenkins’ latest play, a group of friends collectively known as “MERGE” have gathered for a pre-reunion meet-up; Ursula, Emilio, Caitlin, Kristina and Paco haven’t all been in the same place together for quite a few years, so there’s lots to share - and plenty of old grievances to be aired.
“Sometimes the Devil doth preach.” In a winter season that has arguably gone too light on Shakespeare, it is nonetheless fitting that the final production is a brand new version of John Webster’s bloody tragedy. Dominic Dromgoole’s production opened the Sam Wanamaker Playhouse ten years ago, and now Rachel Bagshaw is on board to direct it on its return to the replica Jacobean theatre.
Following a long-anticipated Broadway run, John Benjamin Hickey's production of Neil Simon's Plaza Suite has now made it over to the West End, where it takes over from New York-bound Sunset Boulevard at the Savoy Theatre. This version sees real life couple Sarah Jessica Parker and Matthew Broderick work opposite one another for only the second time in their careers – and is especially apt given the play's subject matter.
“This is perhaps a story for all the misfits, all those who have ever felt ‘other’.” Jade Anouka’s debut play tells the story of love, heartbreak, mental health challenges, and fresh starts - it’s (mostly) a monologue, backed by music from Grace Savage, and has previously been produced by Audible Theater, with live performances in New York and Edinburgh ahead of this run.
1979 was quite a big year both politically and culturally, but Canadian Prime Minister Joe Clark is perhaps one of the lesser known figures to emerge from that time – his Liberal opposite number Pierre Trudeau (or at the very least his son, Justin) is probably a more recognisable name.
It’s probably safe to assume that, for many people, December 2023 so far has not been “the most wonderful time of the year”; whether it’s miserable weather, unreliable train infrastructure, or any of the myriad other problems facing the world, the lead-up to this year’s Christmas festivities has not exactly been vintage. For one magical evening, however, Jamie Cullum managed to sweep that all aside and deliver a festive concert stuffed with pure joy.
There are plenty of Shakespeare books on the market already, it’s true – but there aren’t many out there quite like this one. Originally intended to be a series of conversations between Judi Dench and her friend & colleague Brendan O’Hea for the Globe’s archives, it became apparent that there was more than enough material to build an enlightening and entertaining book.
“There are simply too many notes, that's all. Just cut a few and it will be perfect.” Peter Shaffer’s irreverent, yet at times poignant and thought-provoking, take on the relationship between Mozart and Salieri began life as a National Theatre production – its big screen adaptation garnered accolades following its 1984 release, and retains its popularity almost 40 years later.
Second World War stories seem to be in vogue at the moment (though did they ever really go away?), with Christopher Nolan’s juggernaut Oppenheimer emotionally draining cinema audiences across the globe, and Operation Mincemeat continuing to entertain audiences at the Fortune Theatre. Alan Brody’s Operation Epsilon follows in their footsteps, with Andy Sandberg’s production making its UK première at Southwark Playhouse’s new venue (Elephant).
Based on the memoir of the same name, The Little Big Things recounts the story of Henry Fraser's life-changing accident on holiday in Portugal, and how he subsequently came to embrace the person he became. The book has been adapted for the stage by Joe White, with music by Nick Butcher and lyrics by Butcher and Tom Ling; Luke Sheppard directs, and the creative team also worked closely with the Fraser family to aid in its development.
Mozart received the commission for this requiem under mysterious circumstances, a “messenger in black” brought the request and then refused to divulge who had sent him. The identity of the person commissioning the work was eventually revealed to be that of Count Franz von Walsegg, as he had recently lost his wife and wanted to commemorate her with a requiem - however, as Mozart didn’t start working on it until October 1791 (three months after the commission was sent), it remained unfinished upon his death in December that year. Several of Mozart’s pupils were charged with completing the composition, though the bulk of this work fell to Franz Xaver Süssmayr.
The Britten Sinfonia is unusual in the world of professional orchestras, in that they don’t have the now-traditional principal conductor as their figurehead, instead choosing to collaborate with leading exponents of the field. For this Prom, violinist Thomas Gould both played and acted as director; this harks back to the early days of orchestral performances, where the first violin tended to be the concertmaster - conductors only began to be more prevalent in the 19th century.
Founded in 2015, the Chineke! Orchestra made its Proms debut in the 2017 season and has been a regular feature of various festivals and concert series ever since; it is currently a resident orchestra at the Southbank Centre. Chineke!’s motto (“Championing change and celebrating diversity in classical music”) is reflected in both the make-up of their orchestra and the variety of compositions featured in this Prom - from Valerie Coleman all the way back to Joseph Haydn.
Last night’s performance consisted of a rendition of Francis Poulenc’s Figure humaine by the BBC Singers, as well as the London Symphony Orchestra tackling Gustav Mahler’s Symphony No. 9. A fitting pairing for something of a bittersweet evening, as it brings together words from the French Resistance and a tragic farewell from one of the foremost Romantic composers - Sir Simon Rattle conducted both pieces with aplomb.
The Boston Symphony Orchestra’s second outing at this year’s Proms celebrated the magic of movement, with varying degrees of dance in pieces by Stravinsky, Ravel, Gershwin, and a European première from Carlos Simon. Their programme took the audience back in time, beginning in the 2020s and ending in the 1910s; a century of music with a whole host of inspirations.
What was it about 1973? Already this year there have been events celebrating the 50th anniversaries of classic albums such as David Bowie’s Aladdin Sane, Pink Floyd’s The Dark Side of the Moon, and countless others – then last night at the Royal Albert Hall, the Jules Buckley Orchestra added to that list with their own tribute to Stevie Wonder’s Innervisions. The orchestra was joined throughout by multi-instrumentalist Cory Henry and Vula’s Chorale, as well as some extra special guests.
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