Revivals seemed an early safe bet as the Roundabout presented a new production of the tried and tested The Importance of Being Earnest which opened at the American Airlines theatre in early January. The production was directed by Brian Bedford who also played the matriarchal Lady Bracknell to wide critical acclaim. By the end of the year however another seemingly safe revival of Noel Coward’s Private Lives (which had found a solid audience in the UK) failed to draw in the crowds despite the magnificent Kim Cattrall leading the cast. A production that had sparkled in the UK directed by Richard Eyre did not pack the same punch and the production closed early at the Music Box Theatre. The Roundabout’s revival of Rattigan’s Man and Boy fared much better, riding on the re-interest in Terrence Rattigan throughout his centenary year in a new production starring Tony Award winner Frank Langella. Tom Stoppard’s Arcadia opened in May at the Ethel Barrymore Theatre where it enjoyed a solid three month run.

Musical revivals ranged from ‘the Broadway Legend’ to ‘the Broadway flop’ as Producers threw every trick in the book at past successful shows in the hope that they would once again rise up to become cash cows on the Great White Way. Some had a better success rate than others, but all relied heavily on star names to attract a new audience, or in one particular case, a very loyal one. One of the first major musical revivals opened at the newly named Stephen Sondheim Theatre as Cole Porter’s tap-happy musical Anything Goes set sail with performances from early April. Starring Broadway belter Sutton Foster as Reno Sweeney this production attracted much attention and as predicted she won the Tony for Best Actress. Joel Gray (yes, he is still alive) starred opposite her as the gangster Moonface Martin and with such big personalities literally ‘on board’ it was hard for any of the other lead cast to gain a second of attention. Stephanie J Block boarded the ship for a limited period to cover Foster’s scheduled holiday, redeeming her last nautical outing in the 2006 flop The Pirate Queen.

Over at the Al Hershfeld Theatre all eyes were firmly on the boy wizard to deliver in the lead role of J Pierrepont Finch in a new revival of Frank Loesser’s How to Succeed in Business Without Really Trying which also starred John Larquette. Rob Ashford’s colourful production breathed new life into the show and survived thanks to both Daniel Radcliffe’s mass appeal and the nation’s re-kindled love for 1960’s office attire seen in Mad Men. The most prolific revival of the year came direct from Washington, as Stephen Sondheim’s Follies opened at the Marquis Theatre in September to solid critical acclaim. Bernadette Peters starred as Sally alongside a perfect Jan Maxwell and Ron Raines in this beautiful revival which kept the glamour of the original production alongside a perfect cast. Smug Brit Elaine Paige was finally given some work skulking in the background as an injured Carlotta, but even she managed to deliver a crowd pleasing performance of ‘I’m Still Here’. Despite a good critical response the show was mainly kept alive by die hard fans, but managed to extend well into the New Year.

The new season brought much hope for revivals of Godspell and On a Clear Day You Can See Forever which both were savaged by critics, the former surviving solely on tourists who are familiar with the show from both their Camp and High School Productions. Harry Connick Jnr’s oozing charm didn’t prove good enough to save Michael Mayer’s misguided and arrogant production of On a Clear Day involved an updated book that ruined any integrity the little known musical ever had, placing it around the 50% capacity mark most weeks.

New musicals throughout 2011 ranged from the sublime to the ridiculous, as the most unlikely subjects became the season’s tearaway hits. South Park creators Trey Parker and Matt Stone teamed up with Avenue Q writer Robert Lopez to produce The Book of Mormon, resulting in an epic 14 Tony Award Nominations. The show became an instant hit with the cast album peaking on the Billboard Charts and tickets becoming as rare as a dinner date between Patti luPone and Andrew Lloyd Webber. The show consistently led the Broadway grosses playing to 100% capacity week on week. Hot on its tail was a new musical based on the film Catch Me If You Can which featured a score by Mark Shaiman and Scott Whittman, opening at the Neil Simon Theatre in April. Norbet Leo Butz, Tom Wopatt and Aaron Tevitt led the impressive cast, and despite mediocre reviews the show lasted a mere 170 performances.

The biggest flops of the season included Baby It’s You at the Broadhurst Theatre which managed to stumble through the summer whilst failing to generate any real attention.

Composer Frank Wildhorn’s two attempts on Broadway both ended disastrously with his first offering Wonderland opening in April lasting only a month, and his second attempt Bonnie and Clyde a mere 30 days. Despite a mixed-to-good audience reaction both productions suffered at the hands of New York Critics who were overshadowed by Wildhorn’s previous failures and added the final nail in the coffin. Neither show recouped any of their initial investments, leaving many fans disappointed. Critics praised off-Broadway musical Lysistrata Jones generating enough buzz to get the show transferred to the Walter Kerr Theatre, but it failed to find a distinct fanbase and closed after a brief month.  

The most eagerly anticipated new musical of the year finally opened on June 14 after over 6 months of previews at the Foxwoods Theatre. The Broadway soap opera continued to unfold, with critics breaking their embargoes, actors getting injured mid performance and the Director Julie Taymor suing Producers after she was spectacularly axed from the production. Critics called the show a mess but audiences were intrigued by the growing webs of intrigue proving that there is no such thing as bad publicity. The show became a hot ticket playing to capacity audiences but has to sustain another 4 years in order to recoup its colossal investment.

Two musicals transferred from London’s West End with great prospects but struggled to match the commercial success they had previously enjoyed in the UK. First up was Priscilla Queen of the Desert which opened at the Palace Theatre, providing Broadway audiences will a feel-good night out at the theatre complete with drag queens and a sparkly shoe. Hot on its stiletto heels was Sister Act the Musical which opened at the Broadway Theatre but again failed to match the reception it had enjoyed at the historic London Palladium. London plays fared better overall with the National Theatre’s production of War Horse opening at the Vivian Beaumont Theatre in the Lincoln Centre, recapturing the spectacle Londoners have enjoyed over the past five years. The Royal Court’s production of Jez Butterworth’s Jerusalem gained incredible reviews, again praising Mark Rylance in the lead role of Johnny Rooster Byron. The Mountaintop opened at the Bernard B Jacobs Theatre in September after a previous London engagement bringing the drama of Martin Luther King’s assassination to life.  

Two concert performances delighted Broadway audiences, the first Hugh Jackman on Broadway which ran for a limited 10 week engagement at the Broadhurst Theatre. The show was a sell out sensation, returning the star to New York after his Tony Award Winning performance in The Boy From Oz.  Slightly less main stream was a wonderful concert featuring An Evening with Patti and Mandy at the Barrymore Theatre, reuniting the Evita stars who shared some of their most famous Broadway standards.

All in all it was a busy year on Broadway, with 2012 set to be even more exciting as Andrew Lloyd Webber, George Gershwin and Disney burst back onto the scene…

Olympics Logo (wikipedia)

As London gears up to welcome the long awaited 2012 Olympic year the theatre industry nervously waits to see exactly how the ‘greatest show on earth’ will affect the glorious West End. With Andrew Lloyd Webber predicting a “bloodbath” over the period, stating that at least three big shows will close for at least three weeks, producers appear tentative as box office sales are proving to be slower than expected for the upcoming months. A number of high profile transfers and new musicals which were expected to open in 2012 may now wait until the New Year, as theatre real estate seems to be at a premium and no one wanting to make the first move. Top of everyone’s wish list is the anticipated West End transfer for the Tony Award winning hit musical The Book of Mormon which is now expected to open at the Prince of Wales Theatre early 2013. The show scored an impressive 14 Tony Award nominations, winning in 9 categories including Best Musical. It continues to be the hottest ticket on Broadway and the South Park creators from whom the musical comes are hoping that this success will be matched across the Atlantic. Esteemed director Marianne Elliott is said to have withdrawn from the upcoming Spice Girls Musical Viva Forever which was also rumoured to premiere in 2012. Opinion on the project seems to be mixed, with die hard Spice Girls fans eagerly waiting to hear their favourite songs regurgitated in the musical theatre form. Meanwhile Sonia Friedman Productions continue to work on the upcoming Bridget Jones the Musical, was has confirmed will star Olivier Award Winner Sheridan Smith as the single thirty-something, bringing a new score by singer Lilly Allen to life. Yet another film to stage musical The Bodyguard is said to be eying up the Adelphi Theatre to open in the Autumn…watch this space!

Enough speculation – the nights may still be dark but the post-Christmas Blues can be kept at bay by the sparkling new musicals headed to the West End this spring and beyond. First up comes the Chichester Festival Theatre’s production of Singin in the Rain which is set to open at the Palace Theatre on February 4^th after receiving rave critical reviews this summer. Adam Cooper stars as silent film star Don Lockwood alongside the beautiful Scarlett Strallen in this toe tapping light entertainment based on the classic MGM film. With films such as ‘The Artist’ generating Oscar buzz it seems that we can’t get enough of a good old fashioned Hollywood tale. Another successful transfer tap dances its way into the Aldwych Theatre as Top Hat opens on April 19^th. Tom Chambers is joined by Summer Strallen (sister of the above) in this dazzling production which follows a successful UK tour. Top Hat will follow a short run of Midnight Tango featuring the stars of ‘Strictly Come Dancing’ Vincent Simone and Flavia Cacace which opens on January 20^th for a ‘strictly’ limited period.

Chichester’s second successful show of 2011 also finds a West End home when Stephen Sondheim’s London musical Sweeney Todd transfers to the Adelphi Theatre opening March 20^th. Starring Michael Ball and Imelda Staunton as Sweeney and Mrs Lovett this production received rave reviews and is set to dazzle the West End stage once again. Sondheim’s most recent musical Assassins opens at the Pleasance Theatre in Islington in a brand new production also beginning March 20^th, along with a regional production of Gypsy starring Caroline O’Connor at Leicester’s Curve which begins March 13^th.

Two long running West End shows are gearing up ready for a UK tour, the first being a new production of Starlight Express produced by Bill Kenwright. Andrew Lloyd Webber’s edgy train musical ran for almost 18 years at the Apollo Victoria Theatre and will take to the road after opening at the New Wimbledon Theatre in May. After celebrating 25 years in London’s West End The Phantom of the Opera will launch a new UK wide tour opening in Plymouth in March. This will be a re-imagined production featuring new designs directed by Laurence Connor. Make sure you catch it at a local venue near you! With Jesus Christ Superstar opening on Broadway later this year, Lloyd Webber has revealed plans to start a nationwide televised search to find a new Jesus for a stadium arena tour of the musical. Let’s hope his prayers are answered.

Revivals are once again looking to be a safe bet for the summer with the Regent’s Park Open Air Theatre mounting a new full scale production of Ragtime. This Flaherty and Ahrens musical is based on the novella by E.L Doctorow and shows a tapestry of turn of the century America. The venue seem undeterred by the Olympic competition and are even offering tickets priced at £20.12 for a limited period. Opera North return to the Barbican with a brand new production of the Rodgers and Hammerstein classic Carousel after a brief UK tour. Following the success of last summer’s South Pacific this gem of a show will be a treat for tourists and Londoners alike.

‘The play’s the thing’ in the West End for 2012 with an array of new and old dramas treating audiences throughout the year. Alan Bennett’s The Madness of George III runs for a limited time at the Apollo Theatre, hot on the tails of Jerusalem. Starring David Haig in the title role, this production transfers from the Theatre Royal Bath, followed by a revival of Eugene O’Neill’s Long Day’s Journey Into Night from April 2^nd. David Suchet will be joined by Laurie Metcalf in this gripping drama directed by Anthony Page. If comedy is your thing, do not miss these offerings from two of the world’s most performed playwrights. Noel Coward’s Hay Fever opens on February 9^th starring Lindsay Duncan as the first of the author’s works to be performed at the newly named Noel Coward Theatre. Alan Ayckbourn’s comedy Absent Friends opens on the same day at the Harold Pinter Theatre starring Kara Tointon who was last seen in last summer’s revival of Pygmalion at the Garrick Theatre. Both will provide you with enough laughs to lighten the mid-winter blues.

The 2011 musical Backbeat will close early at the Duke of York’s Theatre to give way to Zach Braff’s own play All New People from February 22^nd. Famous for roles in the US sitcoms ‘Scrubs’ and ‘Garden State’ this transatlantic comedy has previously played in New York. Neil Simon’s play The Sunshine Boys is currently looking for a West End home in a new production starring Danny DeVito and Richard Griffiths, and will hopefully land in London during the Spring. The other half of ‘Cagney and Lacey’ Tyne Daley will open in Master Class at the Vaudeville Theatre direct from a successful revival on Broadway.

At the Donmar Warehouse Michael Grandage bids a fond farewell, handing over the reigns to Josie Rourke, who kicks off her season with The Recruiting Officer followed by The Physicists and Making Noise Quietly. All eyes are on the tiny venue to deliver and live up to its reputation as once of the best theatres in London. Over at the National, director Nicholas Hytner shows no signs of leaving, announcing a new season which includes the classic play She Stoops to Conquer (Jan 24^th) along with the premiere of Nicholas Wright’s new play Travelling Light (Jan 11) starring Antony Sher. The Southbank Venue are continuing their successful NT Live project which broadcasts their work live all over the globe, along with affordable £12 Travelex Tickets. Staying south of the river, the Old Vic’s smash hit revival of Noises Off continues until March and will be followed by Jamie Lloyd directing Webster’s The Duchess of Malfi.

If Shakespeare is what you are after then 2012 promises to be another rich year for the Bard. The Globe’s season includes a return to the space for Mark Rylance who will reprise his roles as Olivia in Twelfth Night and the King in Richard III alongside a new production of Henry V starring the wonderful Jamie Parker. Regent’s Park will present an outdoor production of A Midsummer Night’s Dream which is a sure fire way to attract the Olympic tourists on a beautiful summer’s evening. Finally, the RSC’s World Shakespeare Season will feature new productions of The Comedy of Errors, Twelfth Night and The Tempest at the Roundhouse, along with Julius Caeser and Much ado About Nothing at the Noel Coward.  

Despite an unsteady forecast the West End looks like it will continue to thrive well into 2012. Which productions will remain is yet to be seen, but it is set to be an exciting year.

My top 3 to see:

• Sweeney Todd at the Adelphi Theatre – (from March 20^th)
• Mark Rylance in Richard III (Shakespeare’s Globe)
• Ragtime (Regent’s Park) – Based on the venue’s previous success, this incredible musical will be the hot ticket for summer 2012.

Of course there are exceptions to every rule, and nowhere was this more clear than with Cameron Mackintosh’s new musical Betty Blue Eyes which received almost unanimous critical praise but failed to draw in the masses at the Novello theatre.  Penned by British duo Stiles and Drewe the riotous romp starred Sarah Lancashire and (the voice of) Kylie Minogue as a talking pig. A string of five star reviews and Alan Bennett’s name (whose 1984 film ‘A Private Function’ inspired the show) were not enough to see the show much past the summer haze. Other new musicals suffered a similar fate, both at the Gielgud theatre. First up The Umbrellas of Cherbourg, which starred Joanna Riding followed by Matthew Kelly in the musical farce Lend Me a Tenor. Both shows proved popular with audiences and critics but were unable to battle against the commercialism of other new shows such as The Wizard of Oz or Shrek drawing in the schools and coach tours.  The former billed as Andrew Lloyd Webber’s ‘new’ production was a large scale, garish production at the London Palladium acting as a star vehicle for Michael Crawford and TV reality winner Danielle Hope. The Lord himself added five new songs to the show, adding nothing to the classic musical but schmaltz and a certain tacky appeal for families and tourists. The Broadway transfer of Shrek the Musical lost all energy and originality in the trans-Atlantic journey as it opened at the Theatre Royal Drury Lane. Songs were cut to suit Richard Blackwood’s vocal talents (or lack of) and Sutton Foster’s Princess Fiona was replaced by a wooden Amanda Holden, whose vocal stamina meant she missed multiple performances and ultimately left the role early.

Following the tradition of screen-to-stage musicals, Ghost opened at the Piccadilly Theatre based on the film of the same name. The show became an instant success and will transfer to Broadway in 2012 with original stars Richard Fleeshman and Cassie Levy. Backbeat followed suit opening at the Duke of York’s Theatre with an impressive cast including Nick Blood and Andrew Knott, telling the story of the Beatles rise to fame and their Hamburg years. The most successful new musical to open in London transferred from the RSC’s new theatre in Stratford to the Cambridge Theatre gaining the best reviews of the year. Matilda a musical, based on the book by Roald Dahl featuring a score by Tim Minchin was an overblown spectacle directed by Matthew Warchus with choreography by Peter Darling.

A period of much uncertainty from both producers and audience members has created a revolving door at some theatres, with gaps being filled by regional gems finding new homes in the West End. After the departure of Betty Blue Eyes the Regent’s Park Open Air Theatre (who took home the Olivier Award for Best Musical Revival once again) leapt at the chance to transfer their highly successful production of Gershwin’s Crazy for You to the Novello Theatre, adding a certain amount of glitz and glamour to the Aldwych. Further down the road, the closing of long running Dirty Dancing before a UK tour led to a number of disappointing plays which included Mark Warren in Cool Hand Luke closing early, making way for the sparkling touring production of Top Hat to enter the West End early 2012. The jewel in this nostalgic crown was the Chichester Festival Theatre’s dazzling production of Singin’ in the Rain which was met with excellent reviews, and will take over the Palace Theatre after Priscilla finally drives her party bus out of the West End on New Year’s Eve. Chichester proved lightning can strike twice with it’s brand new version of Sondheim’s Sweeney Todd starring Imelda Staunton and Michael Ball in a fantastic revival which will also open in the West End in 2012.

Some of the most honest productions of the year opened at Off West End venues, proving what can be achieved in smaller non-traditional spaces. First up was Parade at the Southwalk Playhouse, and although the production didn’t quite live up to the 2007 Donmar revival, it was still a tour de force, strengthening the venue’s dominance on the London fringe scene. Over at the Landor Theatre Flaherty and Ahrens’ epic musical Parade was presented in a breathtaking new production featuring a number of stunning performances and incredible musical achievements. The Menier Chocolate Factory enjoyed a relatively quiet year with productions such as Road Show and Pippin failing to excite critics. Other regional revivals worth mentioning both occurred over the festive period – the first at the West Yorkshire Playhouse in a witty new production of Annie and the second Company at Daniel Evans’ newly managed Sheffield Crucible Theatre. Commercialism in the West End meant that regional and fringe productions could thrive, finding new audiences in frustrated theatregoers looking for more than ‘razzle dazzle’ and overblown productions.

Over on the Southbank Hytner hinted he intends to stay for another three years after yet another diverse and successful season. Early successes included Frankenstein and London Road which became somewhat overshadowed by the success of James Cordon in the hilarious One Man Two Guvnor’s which subsequently transferred to the Adelphi Theatre followed by a Broadway transfer. NT Live continued to thrive, sending productions of Wesker The Kitchen and Chekhov’s The Cherry Orchard to new audiences around the world. Mike Bartlett’s new play 13 failed to match the early success of Earthquakes in London offering an obvious view on modern London that failed to answer as many questions as it raised.  The Donmar Warehouse continued it’s incredible success as it’s production of King Lear transferred to BAM after a brief UK tour, and it’s production of Anna Christie starring Jude Law making for a perfect farewell season for Michael Grandage.

The Comedy Theatre was renamed The Harold Pinter, offering a conveyor belt for celebrities in pedestrian revivals of shows such as The Children’s Hour, Betrayal and Death and the Maiden. The Royal Court’s production of Jerusalem enjoyed a victory lap at the Apollo Theatre as Mark Rylance continued to star as Rooster. Trevor Nunn began his first season at the Theatre Royal Haymarket, opening strong with a production of Flare Path starring Sheridan Smith but failed to match his own success with flat productions of The Tempest, Rosencrantz and Guildenstern are Dead and The Lion in Winter, the latter closing early despite the popularity of Joanna Lumley. Over at Trafalgar Studios Max Stafford Clark re-directed Caryl Churchill’s Top Girls to great affect, breathing life into the 1981 play he originally directed at the Royal Court.

Shakespeare continued to feature strongly throughout the year with a masterclass in acting from Kevin Spacey as Richard III in the Sam Mendes directed production at The Old Vic. Catherine Tate and David Tennant draw new audiences to the Wyndham’s theatre in an otherwise ordinary production of Much Ado About Nothing which also featured at the Globe for their summer season. Michael Grandage chose to bid farewell to the Donmar Warehouse with an inspired new look at Richard II starring flavor of the month Eddie Redmayne as the young King. All eyes are firmly set on his successor Josie Rourke to keep the flame burning into the Olympic year and beyond.

As 2012 approaches all eyes will shift somewhat east of the West End for the summer months, bringing new challenges to the theatre industry which will hopefully be met with great respect. As Andrew Lloyd Webber threatens to close his productions over the three week Olympic period let’s hope others will embrace the wave of tourism into the capital, making 2012 a theatrical success.

Sondheim on Sondheim (wikipedia,SS Miami)

The 2010 Broadway Season celebrated the birthday of Stephen Sondheim in spectacular fashion and instead of resurrecting an old piece of work, created a brand new musical. Sondheim on Sondheim was a musical revue conceived and directed by James Lapine, with whom Sondheim had worked with previously on the musicals Into the Woods and Sunday in the Park with George. Staged by the Roundabout Theatre Company at Studio 54, the show featured audio narration by Sondheim telling the story of his life and works through interviews and songs both well known and newly created. The cast was made up of veteran Sondheim performers such as Barbara Cook, Vanessa Williams, Tom Wopat and Norm Lewis who each performed songs from shows including West Side Story, Company and Merrily We Roll Along. Arranged and presented in a new form, particular highlights included a ‘mash up’ of ‘Losing My Mind’ with ‘Not a Day Goes By’ and a fantastic version of ‘Being Alive’ by Norm Lewis. The show also featured songs Sondheim had written early in his career whilst at college. Critics met the show with mixed reviews however most agreed that the video footage was the star of the show and was incorporated well into the text. The song selection was seen to be ill-matched to the performers, but as a celebration the piece stood out as being a fitting tribute to the composer.

The Addams Family (wikipedia,Rjf0605)

Other new musicals on Broadway this season varied in quality and were not as exciting as previous years. Andrew Lippa’s new musical The Addams Family opened in April at the Lunt-Fontanne Theatre as a huge spectacle, costing between $10-15million. Early success was down to the strategic casting of Nathan Lane as Gomez and Bebe Neuwirth as Morticia, creating a buzz at the box office. The show took its inspiration from the original cartoon series rather than any of the modern films, and featured a brand new story by Marshall Brickman and Rick Elice. Despite mainly negative reviews the show consistently played to 100% capacity throughout the preview period and gained a huge advance, which many people put down to the casting of Lane in the lead role. Lippa’s score was nominated for the Tony Award but didn’t win, despite having an edgy and fresh sound. After the stars left the show Brooke Shields sparked some interest, but the show post closing details for December 2011.

The freshest new musical came from director Susan Stroman, who presented Kander and Ebb’s newest show The Scottsboro Boys at the Lyceum Theatre. Based on the Scottsboro Boys trial, the musical used the convention of a minstrel show to act as a social critique on the case and its place within American culture. The show opened on October 7 but closed after only 49 regular performances. Some critics found the mixed form too much to handle, saying the message of the piece was obscured too much by the minstrel element that trivialised the case. Others fully understood Stroman’s vision and found the show wholly effective. John Kander’s music was praised as he proved to be as versatile as ever. The show was nominated for 11 Tony Awards (second only to The Book of Mormon with 14) and took home none.

American Idiot (wikipedia illazill)

Greenday exploded onto the Broadway stage with their ‘concept’ musical American Idiot which took over the St James Theatre from April. Based on the album of the same name, the ‘rock opera’ follows the journey of a group of young Americans struggling to find meaning in a post-9/11 world. Billie Joe Armstrong was at the forefront of the creative team alongside director Michael Mayer, bringing the album to the stage in a new form of jukebox musical. Million Dollar Quartet attempted to take a slice of the jukebox genre, developing from the Jersey Boys formula. This one act musical shows the ‘best jam session in history’ bringing the world of Jerry Lee Lewis, Elvis Presley, Carl Perkins and Johnny Cash to the stage, in a concert of their most famous songs. In direct contrast Bloody Bloody Andrew Jackson opened at the Bernard B Jacbobs Theatre charting the foundation of the Democratic Party. Using Andrew Jackson, the seventh American President as the focus, the rock musical redefined him as an ‘Emo’ rock star, focusing on the Indian Removal Act along with his personal relationships. The poor economy was blamed for the show’s premature closing, ending its run after 120 performances, and closing with a substantial loss.

The big revivals of the year came from La Cage aux Folles which transferred from London’s Menier Chocolate Factory and a new production of Promises, Promises directed by Rob Ashford. Despite having only been revived five years ago, the new version of La Cage starring Douglas Hodge and Kelsey Grammar captivated audiences at the Longacre Theatre where it opened on April 18. Hodge reprised his role as Zaza, winning the Tony Award for Best Actor. Over at the Broadway Theatre Neil Simon’s musical Promises, Promises using the music of Burt Bacharach was pleasantly received due to the star casting of Sean Hayes and Kristin Chenoweth. The show was substantially rewritten in order to give Chenoweth enough stage time, and the new songs were framed well within the fantastic production.

The biggest fail of the season came from the transfer of Lucy Prebble’s play Enron after a sell out season in London’s West End. The play opened at the Broadhurst Theatre on April 27, and closed on May 9; a fact that producers put down to a damning review by Ben Brantley of the New York Times. The show’s fate was sealed the moment the review was published, and it seemed that American audiences were not yet ready to be entertained or to visually see a play that so clearly spoke of the harsh economic times and the symbolic failure of capitalism in the 21^st century.

Promises, Promises (wikipedia optimusXP)

Brief Encounter and The Pitman Painters made more successful transfers, each running for a solid period of time. The Donmar Warehouse’s production of Red was the hit of the season, playing for a limited period at the John Golden Theatre. Written by John Logan with direction by Michael Grandage, the new play concerned American expressionist Mark Rothko. Starring Eddie Redmayne the play was a sensation, taking home multiple awards and performing to sell out audiences. Classic revivals also fared well, with Mrs Warren’s Profession and A View from the Bridge bringing new audiences to Broadway, alongside Al Pachino in a new production of The Merchant of Venice which transferred after a sell out run in Central Park.

2010 saw two big birthdays in the theatre world, with each of them being celebrated fantastically throughout the year. The first of these was celebrated on an international scale as Stephen Sondheim turned 80, rekindling interest in his productions on both main stages and West End venues. The annual BBC Proms series honoured the American composer with a specially crafted Sondheim Prom at the Royal Albert Hall which featured an evening of some of the composer’s most well known songs by respected performers of the stage and screen. Judy Dench was once again wheeled out to give her breathy rendition of ‘Send in the Clowns’, with other highlights including Simon Russell Beale and Co. performing the hilarious ‘Everybody Ought to Have a Maid’ from ‘A Funny Thing Happened…’, one of the composers first shows. The Donmar Warehouse, who have always been a strong supporter of Sondheim material presented a new production of Passion, the 1994 one act chamber musical starring everyone’s favourite multi-ethnic performer Elena ‘Piaf/Evita’ Rodger. Jamie Lloyd’s production was beautiful and haunting, and also dangerous, as one of the cast became hospitalised due to an incident with a prop gun firing a real bullet. The ever amazing Open Air Theatre directed their homage towards the composer by staging an exciting revival of Into the Woods at their Regent’s Park venue, starring Jenna Russell and Hannah Waddingham and the Baker’s Wife and Witch respectively. The venue suited the show perfectly, and it went on to win a string of awards including the Olivier for Best Revival.

The other big birthday of the year was the 25^th anniversary of Les Miserables which was celebrated in a grandiose manner at the O2 arena. Producer Cameron Mackintosh attempted to outdo the previous 10^th anniversary concert, upgrading to the larger (sole-less) venue with a huge cast and orchestra consisting of various performers from the 25 year period. Sadly Ruthie Henshall and Michael Ball were snubbed in favour of a younger model, as celebrity casting confirmed the event would be a commercial success. One of the Jonas Brothers appeared as Marius alongside comedian Matt Lucas as Thenardier.

Over in the West End Sonia Friedman worked hard to make the transfer of Broadway musical Legally Blonde a success, introducing American style day seats and lottery seats, setting a marketing trend across London. The show opened with Sheridan Smith as Elle Woods to huge critical and commercial praise at the Savoy Theatre. The show quickly became a vehicle for out of work celebrities in a number of takeovers including Denise Van Outen, Lee Mead, Richard Fleesman and Natalie Casey, but continued to pack in the crowds well into 2011.

Across the road Andrew Lloyd Webber’s long awaited new musical Love Never Dies hit multiple problems before it opened at the Adelphi Theatre on March 10. The show had been talked up by the composer and the press a full year before opening and all eyes were firmly on the show for it to succeed. Lloyd Webber suffered personal problems as he underwent treatment for prostate cancer, stalling the project and ultimately being the reason the composer thought the production had failed. A sterling cast of professionals were on board to give the show the best chance possible, including American siren Sierra Boggess as Christine, Ramin Karimloo and The Phantom, Liz Robertson as Madame Giry and Summer Strallen as Meg Giry. Despite the multi million pound budget the show was met with generally negative reviews. Ben Elton’s book was once again criticised as the weakest link and some unclear direction and clunky lyrics stalling the otherwise fantastic score. Lloyd Webber took the decision to close the production for reworks, which included enlisting the help of Bill Kenwright with the direction and Charles Hart with the lyrics. After opening again to a selection of critics, most found the changes for the better, but the show closed after 18 months. The 2010 West End shows had taken another victim.

The National Theatre continued to raise the bar, presenting new productions of Hamlet starring Rory Kinnear, alongside a hilarious production of the Victorian melodrama London Assurance starring Simon Russell Beale and Fiona Show. They finished the year with a hilarious production of Seasons Greetings starring comedian Catherine Tate, bringing new audiences to the work of Alan Ayckbourn. The South Bank venue continued to offer discounted tickets through its sponsorship with Travelex, although the recession meant tickets would now cost £12 rather than £10. The NTLive initiative meant that thousands of people all over the country (and later the world) could experience the magnificence of a National Theatre production from the comfort of their local cinema, as productions began to be broadcast via live satellite link. This new move put the theatre at the centre of innovation and only suffered minor technical problems along the way.

Trevor Nunn returned to the West End as he presented an adaptation of the bestselling A-Level English World War I novel Birdsong by Sebastian Faulks at the Comedy Theatre. Adapted by Rachel Wagstaff the cast included Ben Barnes and Genevieve O’Reilly. The success was short lived however due to the productions length and heavier nature, closing early in the New Year. Howard Davies’ award winning production of Miller’s All My Sons was reworked at the Apollo Theatre starring Zoe Wanamaker and David Suchet as Joe and Kate Keller, in a stunning production mirroring that of the original at the National earlier in the decade.

The Donmar Warehouse presented a new production of King Lear starring Derek Jacobi as the tragic hero and Gina McKee, Justine Mitchell and Pippa Bennett-Warner as his daughters. Directed by Michael Grandage with designs by Christopher Oram, Shakespeare’s tragedy had never looked so fresh. The production was a critical success, and transferred to BAM in New York after a brief tour of the UK. Jacobi’s Lear was compelling and furious, showing the character’s descent into madness in a new and engaging way.

Hair the musical transferred to the West End in April, bringing with it the entire Tony Award Winning cast. The production at the Gielgud Theatre was vibrant and joyous, with the cast generating enough energy to light up Shaftesbury Avenue. Cameron Mackintosh co-produced the transfer, marketing the show at new theatre goers as well as lovers of the original musical. Despite excellent reviews the show closed in September after only 5 months. Howard Goodall’s musical adaptation of the film Love Story made a successful transfer from the Chichester Festival Theatre opening at the intimate Duchess Theatre. Michael Ball produced the production which ran for a limited 10 week engagement starring Michael Xavier and Emma Williams.

The most successful new play of the year came from the Royal Court, before transferring to the West End’s Wyndham’s Theatre. Clybourne Park was written by Bruce Norris in response to the play A Raisin in the Sun and deals with issues of race in America between 1959 and 2009. Dominic Cooke directed the production which starred Sophie Thompson and Martin Freeman. The play went on to win the Olivier Award for Best New Play along with the 2011 Pulitzer Prize for Drama.

Next to Normal (wikipedia, MearsMan)

2009 was an incredible year on Broadway across all mediums. Just watching the Tony Awards opening number was enough to confirm that a lot happened during this season – from big budget transfers to flop revivals and some more tactful celebrity casting. The most sensational new show of the year came from writers Brian Yorkey and Tom Kitt and was a surprise hit. Next to Normal the rock musical concerns a mother who suffers from worsening bi-polar disorder as she struggles to bring up and look after her family in suburban America. After a run Off-Broadway at the Second Stage Theatre in 2008 the musical transferred to the Booth Theatre with an official opening on April 15. Alice Ripley starred as the mother and Brian d’Arcy James was replaced by J. Robert Spencer due to the former’s commitment to Shrek at the Broadway Theatre. The powerful show was met favourably by critics who found the subject matter brave and the effect of the show ‘breathtaking’. It took one year for Broadway investors to recoup their initial $4million for the show, which ran for 733 performances, closing in January 2011. The show was a sensation amongst fans and went on to win a host of awards including Tony Awards for Best Original Score, Best Orchestrations and Best Actress for Ripley.

9 to 5 Playbill (wikipedia, Jacobsnchz)

Over at the Brooks Atkinson Theatre a somewhat lighter alternative opened to a different crowd. Rock of Ages, a jukebox musical using classic songs from the 1980s found a home on Broadway after originally opening in LA in 2006. The show offered a tongue in cheek approach to the musical genre, with songs such as ‘I Can’t Fight This Feeling’, ‘The Final Countdown’ and ‘Don’t Stop Believin’ bringing down the house each night. Critics were initially sceptical of the show, but audiences were encouraged by the ridiculous nature and flocked to support the show, going so far as supporting the show in getting the Guinness World Record for the Largest Air Guitar ensemble after a matinee performance. The show’s success sparked film interest and it was revealed that Warner Brothers would release the film in 2012.

Dolly Parton’s musical 9 to 5 opened in the same month at the Marquis Theatre as part of the 2009 Broadway Season. Using the 1980 movie ‘Nine to Five’ as the basis, the show was developed by Parton and book writer Patricia Resnick into a full scale musical. Joe Mantello directed the production, which featured choreography by Andy Blakenbuehler and design by Scott Pask. Stephanie J Block headed the original cast alongside Megan Hilty and Marc Kudisch. Described by the New York Times as an ‘overinflated whoopee cushion’ the show was critically savaged, with the best reviews describing it as mindless entertainment. The show failed to excite audiences, staggering through the summer and closing on September 6 after 148 performances.

The first revivals of the season came from two classic musicals which have enjoyed success all over the world. Guys and Dolls opened at the Nederlander Theatre on March 1 starring Oliver Platt, Lauren Graham and Craig Bierko in a new production by director Des McAnuff. Despite being one of the most popular musicals of the 20^th century, this revival was described as being flat and uninspired, featuring a distinctly average cast. The critics hated the show, praising the material but finding numerous faults with the production. Producers allowed the show to try and find an audience, but on June 14 the plug was pulled on the show after only 113 performances. Over at the Palace Theatre the Arthur Laurents directed revival of West Side Story was met with more praise, thanks to the fresh lens the writer put on the show. Opening on March 19 after a preview period in Washington the show featured a bi-lingual libretto, incorporating the Sharks’ native Spanish language into the show. Laurents drew on the experience of Lin-Manuel Miranda, author of In the Heights who helped transform Sondheim’s lyrics into their Spanish alternatives: “Un Hombre Asi” (A Boy Like That) and “Me Siento Hermosa” (I Feel Pretty). Many criticised the move but Laurents defended it saying that in this modern age it was appropriate to see the Sharks communicate in their native language which would ultimately bring a new life to the relationship between Tony and Maria. Despite winning a Grammy Award for Best Show Album, the creative team replaced the Spanish lyrics with the original English ones in August 2009. Karen Olivo starred as the feisty Anita, winning the Tony Award for Best Featured Actress, alongside unknown Josefina Scaglione as Maria. The production rattled up 748 performances, selling over a million tickets before closing in January 2011.

Angela Lansbury (wikipedia Amicon)

The most successful plays of the season were also revivals. Noel Coward’s classic play Blithe Spirit opened in March at the Schubert Theatre starring Angela Lansbury as Madame Arcati alongside Christine Ebersole and Rupert Everett. The production was praised mainly due to Lansbury’s interpretation of the role and she won the Tony Award for Best Featured Actress in a play. Studio 54 presented a production of Waiting for Godot that ran between April and July starring Nathan Lane and Bill Irwin, receiving rave reviews and played to sell out audiences. Friedrich Schiller’s play Mary Stuart played at the Broadhurst Theatre from April to August with a brand new production directed by Phyllida Lloyd. The play is a thrilling account of the relationship between Elizabeth I and her cousin Mary Queen of Scots and their battle for England’s Throne. Harriet Walter and Janet McTeer brought both characters to life, playing for a sell out run. The Roundabout Theatre Company brought a revival of Ibsen’s Hedda Gabler to the American Airlines Theatre at the beginning of the year, starring Michael Cerveris and Mary-Louise Parker as the ill-fated Tesman couple. The production, directed by Ian Rickson, received mainly positive reviews, although many felt that Parker’s portrayal of the tragic heroine was far from definitive.

Short lived revivals of Bye Bye Birdie and Finian’s Rainbow filled the fall gap on Broadway but failed to inspire much audience reaction, closing at a loss after only a couple of months. The biggest victim was the beautiful revival of Ragtime which transferred from Washington to the Neil Simon Theatre, playing from November – January 2010. The production featured a spectacular 28 piece orchestra along with an energetic cast of 40, resulting in high running costs across the run. Unlike the London production, the show was a full spectacle with beautiful scenic design by Derek McLane. Despite fans of the show fighting to keep it alive the demand was not met, and the show closed prematurely, despite wide critical appeal.

Memphis Poster (wikipedia GorillaWarfare)

Two West End transfers managed to create their mark on Broadway in different ways. The first was The Norman Conquests trilogy which had previously played at London’s Old Vic. The full cycle was presented at the Circle in the Square from April to July to rave reviews for Alan Ayckbourn’s comedic masterpiece. The Menier Chocolate Factory struck gold again as its production of Sondheim classic A Little Night Music found a home on Broadway. Directed by Trevor Nunn the show transferred with many of the West End cast including Alexander Hanson. British actress Catherine Zeta Jones headed the new production as Desiree Armfeldt, opening at the Walter Kerr in December, alongside Angela Lansbury as Madame Armfeldt. This was the first revival of the 70s musical on Broadway, and Nunn’s Chekhovian inspired production ran into 2011, with Bernadette Peters and Elaine Stritch joining the cast after the show closed for a brief hiatus.

The biggest new show of the year opened in October at the Schubert Theatre. Memphis the musical by David Bryan and Joe DiPietro is based on the Memphis DJ Dewey Phillips, who was one of the first white DJ’s to play black music in the 1950s. This powerful show features a superb score of musical hits charting the birth of Rock and Roll in America. The production was directed by Christopher Ashley and went on to win the Tony Award for Best Musical in 2010.

Tony Award (Wikipedia)

After the excitement of the 2009 awards season this year was relatively subdued. Not as many new shows opened in New York or London, resulting in an uncontested race for Best Musical Awards. Performance awards however were fiercely contested on both sides, deservedly won for Mark Rylance in London and Denzel Washington in New York. The Tony Award ceremony lacked the glamour of previous years, with the best performances coming from the revivals rather than the new shows. Catherine Zeta-Jones gave a rather embarrassing acceptance speech as she kicked off the trend for rewarding celebrities for ‘having a go’ rather than judging purely on merit.

Catherine Zeta Jones winning the Tony Award for Best Actress 2010

Enron (wikipedia, adracas)

2009 proved to be once again a phenomenal year for new writing. New plays from the National Theatre, Royal Court and the Almedia ruled the season, alongside further revivals by the Donmar both in and out of the West End. Celebrity turns, some more reality television casting and comedians-turned-serious-actors made for some exciting productions in London, with only a small number of Broadway transfers.

The most long awaited new play of the year came from Alan Bennett in his first play since the triumphant The History Boys of 2005. The theme had been announced by the National Theatre, and Michael Gambon and Alex Jennings were ready to play Auden and Brittain respectively, alongside Francis de la Tour and managed by Nicholas Hytner. Last minute changes saw Richard Griffiths step up to the plate, replacing Gambon and making for a rather comedic History Boys reunion. Bennett’s play sparkled in the Lyttleton Theatre, creating a meta-theatrical look at the nature of creating and maintaining art. Poet Auden and composer Ben Brittan were forced together in a fictional meeting by Bennett in this riotous comedy full of Bennett’s usual pathos and serious reflections.

Lucy Prebble’s play Enron premiered in Chichester before transferring to the Royal Court followed by the Noel Coward Theatre. The play was based on the Enron scandal, directed by Rupert Goold. The production highlighted the smoke and mirror financial practices which resulted in the collapse of Enron and gained five star reviews from many newspapers. The play did not transfer successfully to Broadway, where the New York Times panned the production and it closed prematurely. Jez Butterworth’s play Jerusalem also opened at the Royal Court before transferring to the West End and received similarly strong reviews, particularly for Mark Rylance’s portrayal of Johnny ‘Rooster’ Byron. The play follows a group of travellers living in Wiltshire whom the council want to evict. The play transferred to Broadway later in 2011, where Rylance picked up the Tony Award for Best Actor.

Prick Up Your Ears opened at the Comedy Theatre, based on the life of playwright Joe Orton. The cast included Chris New and Matt Lucas, who had to pull out of the production due to the death of his former husband. The dark comedy failed to recover from Lucas’s departure, and the production was short lived.

Sister Act original artwork (wikipedia, howcheng)

The big new musicals of the year were both stage adaptations of famous films. Sister Act the Musical opened at the London Palladium, featuring a brand new score by Alan Menken and Glenn Slater. Although the show was part produced by Whoopi Goldberg, the show did not use any of the songs from the hit 1992 film of which she starred. The musical received positive reviews, with many praising Patina Miller who took on the role of Dolores, the part originally played by Goldberg. Sheila Hancock starred as the Mother Superior with Katie Rowley Jones as Sister Mary Robert. The show was seen to be a spectacle, with larger than life sets and costumes invoking the disco period in which it is set. Menken’s music and Slater’s lyrics were praised, with most of the criticism focused on the book. The show ran for over a year, and transferred to Broadway before embarking on a UK wide tour.

The Palace Theatre went all glittery when Priscilla Queen of the Desert landed in March, co produced by Andrew Lloyd Webber’s Really Useful Group. The show is adapted from the 1994 film and tells the story of two drag queens who travel across Australia to perform in Alice Springs in a lavender bus. The score uses famous pop songs from the 70s and 80s, accompanied by an ensemble of drag queens wearing outrageous costumes. Billed as a feel-good show, past casts have included Jason Donovan, Tony Sheldon and Oliver Thornton. The show closed in London in December 2011 after an acceptable run.

The biggest musical revivals of the year came from the Young Vic and the Regents Park Open Air Theatre, as they brought Annie Get Your Gun and Hello Dolly to new audiences. The former starred Jane Horrocks as Annie Oakley, and featured a dramatic re-orchestration using four onstage pianos. Thanks to free publicity from the BBC via yet another reality TV casting stunt, it was Cameron Mackintosh’s Oliver! that got most of the attention, opening at the Theatre Royal Drury Lane. Based on Sam Mendes’ previous production, the show set box office records after announcing that Mr Bean (Rowan Atkinson) would play the role of Fagin, alongside ‘I’d Do Anything’ winner Jodie Prenger as Nancy. The production featured an army of children, bringing the show to life on the colossal Drury Lane stage where it ran for just under two years. Russ Abbot, Omid Djialili and Griff Rhys Jones all took turns at playing Fagin, to often full houses of schools and coach trips. Many in the industry felt that the show’s success was as a direct result of free primetime TV marketing, causing much debate in the theatre world.

Jude Law (wikipedia, indiannomad)

The Donmar in the West End season presented what seemed to be the tenth celebrity Hamlet in the past year, as Jude Law brought the Danish Prince to life at the Wyndham’s Theatre. The actor spoke of the challenge of the role, and although many praised the production, he was seen as a weak link. Back on home turf the venue presented a wonderful production of A Streetcar Named Desire starring Rachel Weisz as the faded southern belle Blanche du Bois in a production led by Rob Ashford. Weisz defied expectations in this clever production, bringing a new vulnerability to the role that was praised by numerous critics, leading to her winning the Olivier Award that year.

William’s fans were in for a second helping as the Broadway 2008 production of Cat on a Hot Tin Roof transferred to the Novello Theatre, featuring the same cast with the addition of Adrian Lester as Brick. The production was equally as stunning, James Earl Jones delivering a magnificent overall performance as the patriarchal Big Daddy in the all African-American production.

Over at the National, Oscar winning actress Helen Mirren starred in Phaedra, directed by Nicholas Hytner in a bold new production. Ken Stott played the ill fated Miller hero in a classy revival of A View from the Bridge although his ego led to multiple breaks in the performance as his temper often flared off the stage and into the unsuspecting audience. Sir Ian McKellen was joined by Sir Patrick Stewart in the Theatre Royal Haymarket’s production of Beckett’s tricky play Waiting for Godot. Critics found the interpretation to be definitive, offering a rare chance to see such fantastic actors together onstage.

Spring Awakening London, 2009 West End Theatre Production (salparadisetmblr)

The biggest failure of the year came from the over hyped Broadway transfer of Spring Awakening. After an ‘out of town’ tryout at the Lyric Hammersmith Theatre, the show moved to the Novello where it was unanimously praised by the major critics. Audiences however thought differently and London was not taken in by this Tony Award winning musical, and it shut prematurely, losing a significant percentage of its investment.

Gypsy 2008 Revival

Unlike London, New York was alive with new musical theatre talented throughout 2008, some better than others, but most enjoyed successful runs none the less. From new shows by established artists to more film to musical transitions, the Great White Way was awash with a rich mix of shows ranging from the good to the bad and the downright green.

Broadway favourite Jason Robert Brown caused a stir when he announced that his new musical 13 would open in September, after an out of town tryout in Los Angeles. Stepping away from the heavier material he has come to be associated with, Brown devised a new show with a cast of only children. The show opened at the Bernard B Jacobs Theatre on October 5 and was directed by Todd Graff who also directed the production in LA. Critics found the show likable, but the show closed in January 2009 after only 105 regular performances.

John Doyle returned to Broadway directing the new musical A Catered Affair which was based on the 1956 film of the same name with new book by Harvey Fierstein. The show opened at the Walter Kerr on March 25, surviving until July 27 after 116 performances. Faith Prince and Tom Wopat led the talented cast and critics praised Doyle’s direction as the show felt more like a ‘play with music’ rather than a bold piece of musical theatre. Others found the show ‘tasteful but bland’ which accounts for the sharp drop in audience numbers throughout the early summer months.

Cry-Baby (wikipedia, Shewhodaydreams)

The Musical Cry Baby attempted to bring the 1990 John Walters movie of the same name to the stage at the Marquis Theatre, but was critically panned. This campy and cynical musical failed to match the success of Hairspray, John Walters’ earlier film and closed after 68 regular performances. Passing Strange managed a slightly longer run at the Belasco Theatre, winning one Tony Award for Best Book in the process. The show was positively received by most critics, but the show failed to appeal to tourists to help it survive throughout the summer.

The Little Mermaind Playbill (wikipedia, Jacobsnchz)

Disney Theatricals attempted to strike gold for the fourth time in its stage adaptation of the 1989 film The Little Mermaid which opened at the Lunt Fontanne Theatre in January. Featuring the original score by Alan Menken and new songs by Menken and Glenn Slater, the show failed to match the crossover already seen by The Lion King and Beauty and the Beast. The score was indeed more than Broadway worthy, and Sierra Boggess starred as a sensational Ariel, but the show was let down by the production elements. Francesca Zambello’s direction along side George Tsypin’s scenic design patronised the production making it gimmicky. The addition of ‘Heelys’ meant that the actors could glide around the stage in a quasi Starlight Express fashion but rarely enhanced the performances. Norm Lewis played an intimidating King Triton but was sadly underused. The production managed to run until August 2009, nowhere near the success of previous Disney Broadway ventures.

Broadway was turned green as Shrek the musical opened at the Broadway Theatre in an attempt to knock the crown off Disney’s theatrical monopolisation. Based on the Dreamworks animated picture, Shrek follows an Ogre, a donkey, a mysterious princess and a whole cast of fairytale creatures in a fantastic production designed by Tim Hatley. The show made passing references to musicals such as Wicked, Rent and Gypsy and featured Broadway stars Brian d’Arcy James and Sutton Foster in the lead roles. The show managed a respectable run of almost 2 years, closing in January 2010.

The biggest new musical of the year came from an unknown author and concerned the lives of those living far uptown in Washington Heights. Lin-Manuel Miranda’s musical In the Heights opened in March at the Richard Rodgers Theatre where it managed to recoup its $10million investment after 10 months. The show featured rap music, and hip-hop dancing and was seen as a fresh addition to the musical theatre repertoire. The show won the Tony Award for Best Musical which increased the show’s popularity helping it run far into 2010.

In the Heights Poster, Broadway 2008 (wikipedia, melesse)

2008 became the battle of the big revivals as a new Arthur Laurents directed production of Gypsy opened at the St James Theatre in March, starring Patti LuPone as Mamma Rose. Inspired by what he saw as the ‘awful’ 2003 Sam Mendes revival, Laurents wanted to rectify the mistakes and produce the definitive version before he died. Unsure at first of LuPone’s potential in the role, she stole the show bringing the house down night after night. The tasteful revival starred Laura Benanti as Louise, and Leigh Ann Larkin as June. Like the previous production, the show closed early at a loss, after 332 performances. LuPone made headlines as she literally stopped the show during her 11 o’clock number ‘Rose’s Turn’ to scold a member of the audience who was recording her performance. Uptown at the Lincoln Centre, Bartlett Sher directed a new production of Rodgers and Hammerstein’s classic musical South Pacific. The production breathed new life into the show, with a lively Kelli O’Hara as Nellie Forbush and Matthew Morrison as Cable. The production featured a full live orchestra and was beautifully conceived.

Pal Joey opened at Studio 54 in December, starring a rather aged Stockard Channing and Martha Plimpton, in a production that failed to excite critics or audiences in the already saturated musical year. The Menier Chocolate Factory production of Sunday in the Park with George played at the same theatre with award winners Jenna Russell and Daniel Evans reprising their roles.

Cat on a Hot Tin Roof (playbill)

An all African-American production of Tennessee William’s Cat on a Hot Tin Roof opened, directed by Debbie Allen and was one of the hits of the year. James Earl Jones starred as Big Daddy alongside Phylicia Rashad as Big Mamma in this spectacular production with brought a new perspective on this already amazing play. Boeing-Boeing opened in April starring Mark Rylance and Bradley Whitford, winning a number of awards including Best Actor for Rylance. One of the biggest revivals of the year opened at the Gerald Schoenfeld Theatre in September. All My Sons starred John Lithgow, Patrick Wilson and Katy Holmes as the Keller family in Miller’s family wartime drama.

The West End contributed strongly to the Broadway calendar, with transfers of Equus starring Daniel Radcliffe and Richard Griffiths repeating its London success. Patrick Stewart played Macbeth once again in the dark production directed by Rupert Goold. The most significant transfer came in the form of Billy Elliot the Musical which opened at the Imperial Theatre on 13 November. The full London production team travelled with the show, including Haydn Gwynne who reprised her role as Mrs. Wilkinson. The show was an instant success, taking in over $20million in advance ticket sales.

Donmar in the West End logo (British Theatre Guide)

After a few years of some epic musicals on the London stage, 2008 will be remembered as being a time for excellence in plays both old and new. The Donmar Warehouse began its year long residency at the Wyndham’s Theatre in the West End, kicking off with an outstanding production of Chekhov’s Ivanov starring a somewhat smug Kenneth Branagh, directed by Artistic Director Michael Grandage. At the venue itself Sean Holmes presented a tasteful production of Arthur Miller’s lesser known play The Man Who Had All the Luck alongside Elena Roger in a revival of Piaf. Proving that a foreign accent can work for Spanish (Evita), French (Piaf) and later Italian (Passion) Roger used her distinct voice to bring the show to life, transferring to the Vaudeville Theatre in the West End.

Shaftesbury Avenue was a wash with teenage (and some slightly older…) girls going crazy for Hollywood heartthrob Josh Hartnett who starred in Rain Man at the Apollo Theatre, based on the 1988 Oscar-winning film. Celebrity hunters were out in force later in the year as David Tennant of Dr. Who fame took on the role of Hamlet in the RSC’s bold new production alongside Trekkie Patrick Stewart. Directed by Gregory Doran Tennant defied the critics who labelled the move as mere ‘celebrity Shakespeare’ to give a powerful performance. After transferring to London however Tennant had to miss multiple performances due to bad health and back injury – something that upset many of his eager fans. Michael Boyd brought the RSC to London in an eight play Histories season at the Camden Roundhouse, winning much critical acclaim.

Across the river at the Old Vic Matthew Warchus presented Alan Ayckbourn’s The Norman Conquests trilogy, altering the venue to give an ‘in the round’ performance, similar to Ayckbourn’s own Stephen Joseph Theatre in Scarborough. Vanessa Redgrave’s one woman Broadway production of The Year of Magical Thinking found a home in the West End and the actress reprised her emotional role based on Joan Didion’s book. Ralph Fiennes and Clare Higgins starred in a new production of Oedipus at the National, in a season that was filled with mishaps. The wide mouth frog, otherwise known as Felicity Kendal, starred in a rather safe and uninspired staging of Noel Coward’s The Vortex on Shaftesbury Avenue, but it was another Coward that captured many people’s imaginations. The Kneehigh Theatre Company created a wonderful fim-to-stage adaptation of Brief Encounter which used a combination of theatre and film to tell the classic story set in a bygone age of romance. The piece was a critical hit and inspired a Broadway transfer and subsequent US tour.

Eurobeat

When the jewel in the musical crown comes from a jukebox transfer show it seems obvious that the West End shows 2008 was a dry year. Jersey Boys slotted seamlessly into the Prince Edward Theatre under the supervision of Cameron Mackintosh and managed to emulate similar success to its Broadway debut. The Menier Chocolate Factory went on to prove they can do no wrong with a revival of La Cage aux Folles starring Douglas Hodge as the drag queen ZaZa. The production transferred to the Playhouse Theatre and featured a number of celebrity take overs – the most disappointing being Graham Norton, and the best being John Barrowman. The Novello Theatre proved it had hit new theatrical lows when it let Eurobeat: The Eurovision Song Contest Musical take to the stage. Providing the audience with a unique interactive experience, the show reconstructed the Eurovision Song Contest complete with tacky sets, bizarre accents and crude humour. The tone of the Savoy Theatre was severely compromised as Never Forget, a musical based on the back catalogue of Take That, opened and thankfully didn’t last long enough to raise too many eyebrows.

Zorro Poster (wikipedia Lightdefender)

The Garrick Theatre presented a succession of musical flops, the first one coming in the form of Zorro, a musical based on the films with a new score by the Gypsy Kings. Starring an impressive Matt Rawle and Emma Williams, the show deserved to run longer, but even swashbuckling, fire eating and a salsa inspired score couldn’t save the ill fated show. It was replaced by Peter Pan, el Musical which wasn’t worth the time it took to change the theatre marquee.

The New London Theatre presented two very different musicals which given a different climate may have been allowed to flourish. The first was an ambitious staging of Gone with the Wind, directed by Trevor Nunn. Running at an epic length of almost 4 hours during previews, the show was critically savaged despite a talented cast and some wonderful moments. Imagine This opened later at the same theatre, presenting a musical set in the Warsaw Ghetto during World War II that failed to find an audience. Peter Polycarpou led the cast and the show closed after only a month.

Gone With the Wind Poster (wikipedia ExpressingYourself)

The most successful new musical of the year came from Alain Boublil and Claude-Michel Schonberg as book writers and music by Michael Legrand. Marguerite opened at the Theatre Royal Haymarket in May, running through the summer until September 13, closing three months ahead of schedule. The show starred Ruthie Henshall, Julian Ovenden and Alexander Hanson and was set in 1940s German-occupied Paris. The critics praised the production, saying it raised the bar for modern musicals. Sadly the audiences didn’t feel the same and the coach parties headed up the road to enjoy Jersey Boys instead.

The failure of so many new musicals this year reflected the economic climate, as many people began to feel the pinch of the recession. Although West End theatre continued to thrive in terms of numbers, audiences were drawn to ‘safer’ options, such as celebrity castings, jukebox musicals and shows they knew they would like. It would be interesting to judge the reception of these shows in a different year under different circumstances as many had potential to succeed and were enjoyed by the rare few who managed to see them before they closed.