Category Archives: Theatre

Mel Brooks on losing the loves of his life: ‘People know how good Carl Reiner was, but not how great’

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From best friend Carl Reiner to wife Anne Bancroft, the great comic has had to face great loss. But even in the middle of a pandemic, the 95-year-old is still finding ways to laugh

In February 2020, I joined Mel Brooks at the Beverly Hills home of his best friend, the director and writer Carl Reiner, for their nightly tradition of eating dinner together and watching the gameshow Jeopardy!. It was one of the most emotional nights of my life. Brooks, more than anyone, shaped my idea of Jewish-American humour, emphasising its joyfulness, cleverness and in-jokiness. Compared with his stellar 60s and 70s, when he was one of the most successful movie directors in the world, with The Producers and Blazing Saddles, and later his glittering 2000s, when his musical adaptation of The Producers dominated Broadway and the West End, his 80s and 90s are considered relatively fallow years. But his 1987 Star Wars spoof, Spaceballs, was the first Brooks movie I saw, and nothing was funnier to this then nine-year-old than that nonstop gag-a-thon (forget Yoda and the Force; in Spaceballs, Mel Brooks is Yoghurt and he wields the greatest power of all, the Schwartz).

I loved listening to Brooks and Reiner – whose films included The Jerk and The Man With Two Brains – reminisce about their eight decades of friendship in which, together and separately, they created some of the greatest American comedy of the 20th century. The deep love between them was palpable, with Brooks, then 93, gently prompting 97-year-old Reiner on some of his anecdotes. It was impossible not to be moved by their friendship, and hard not to feel anxiety about the prospect of one of them someday having to dine on his own.

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The stars with Down’s syndrome lighting up our screens: ‘People are talking about us instead of hiding us away’

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From Line of Duty to Mare of Easttown, a new generation of performers are breaking through. Meet the actors, models and presenters leading a revolution in representation

In the middle of last winter’s lockdown, while still adjusting to the news of their newborn son’s Down’s syndrome diagnosis, Matt and Charlotte Court spotted a casting ad from BBC Drama. It called for a baby to star in a Call the Midwife episode depicting the surprising yet joyful arrival of a child with Down’s syndrome in 60s London, when institutionalisation remained horribly common. The resulting shoot would prove a deeply cathartic experience for the young family. “Before that point, I had shut off certain doors for baby Nate in my mind through a lack of knowledge,” Matt remembers. “To then have that opportunity opened my eyes. If he can act one day, which is bloody difficult, then he’s got a fighting chance. He was reborn for us on that TV programme.”

It’s a fitting metaphor for the larger shift in Down’s syndrome visibility over the past few years. While Call the Midwife has featured a number of disability-focused plotlines in its nearly decade-long run – actor Daniel Laurie, who has Down’s syndrome, is a series regular – the history of the condition’s representation on screen is one largely defined by absence.

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Stephen Sondheim: a daring and dazzling musical theatre icon

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The American composer and lyricist, who has died aged 91, shaped the musical artform with his wise, witty and extravagantly clever work

Stephen Sondheim achieved such acclaim – for deepening the content and extending the lyrical ingenuity of musical theatre – that, from the age of 50, each major birthday was celebrated with tribute concerts in London, New York or both.

Watching the composer-lyricist of Sweeney Todd and Follies at such events – taking a bow, with his wry smile – it was impossible not to reflect on our luck in coinciding with the life of someone who would clearly stand in the history of the genre alongside such geniuses as Cole Porter, Irving Berlin, George and Ira Gershwin, Leonard Bernstein, Kurt Weill, Richard Rogers and Oscar Hammerstein.

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Stephen Sondheim: master craftsman who reinvented the musical dies aged 91

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Scoring his first big hit with West Side Story at 27, the US composer and lyricist raised the art form’s status with moving and funny masterpieces including Follies and Company

‘His songs are like a fabulous steak’: an all-star toast to Sondheim

Stephen Sondheim, the master craftsman of the American musical, has died at the age of 91. His death, at his home in Roxbury, Connecticut, on Friday has prompted tributes throughout the entertainment industry and beyond. Andrew Lloyd Webber called him “the musical theatre giant of our times, an inspiration not just to two but to three generations [whose] contribution to theatre will never be equalled”. Cameron Mackintosh said: “The theatre has lost one of its greatest geniuses and the world has lost one of its greatest and most original writers. Sadly, there is now a giant in the sky. But the brilliance of Stephen Sondheim will still be here as his legendary songs and shows will be performed for evermore.”

Over the course of a celebrated career spanning more than 60 years, Sondheim co-created Broadway theatre classics such as West Side Story, Gypsy, Sweeney Todd and Into the Woods, all of which also became hit movies. His intricate and dazzlingly clever songs pushed the boundaries of the art form and he made moving and funny masterpieces from unlikely subject matters, including a murderous barber (Sweeney Todd), the Roman comedies of Plautus (A Funny Thing Happened on the Way to the Forum) and a pointillist painting by Georges Seurat (Sunday in the Park With George).

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Lin-Manuel Miranda: ‘Doing Hamilton every night saved me. It kept my head from getting off the swivel’

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When his Broadway show became a global phenomenon, the rigours of daily performance kept the actor and songwriter grounded. Then Disney and Hollywood came calling. Now, the ‘musical theatre fanboy’ has returned to his first love


About halfway through Tick, Tick ... Boom!, the new movie directed by Lin-Manuel Miranda, the patrons of a diner in 90s New York all turn to the camera and sing. The movie, Miranda’s directorial debut, is based on the autobiographical stage show of the same name by Jonathan Larson (creator of Rent) and tells the story of Larson’s late 20s as a struggling writer and waiter. Andrew Garfield is extraordinary in the lead, but it’s the people around him who make this particular scene; as the number unfolds, it becomes apparent that every extra in the diner is a legend of musical theatre, from Bernadette Peters, to Brian Stokes Mitchell (a veteran Tony award winner), to Roger Bart (original cast, Tick, Tick ... Boom!), to Jim Nicola (former artistic director of the New York Theatre Workshop) to a blink-and-you’ll-miss-it shot of Joel Grey, chasing the waiter for the bill. “I don’t know that I’m the guy you hire to make your next Marvel movie,” Miranda says, speaking via video from his office in uptown New York, “but I am the guy you hire to make this musical about a guy who wrote musicals.” It is simultaneously funny, moving and monstrously self-indulgent – or, as Miranda puts it, “about as musical theatre nerdy as it can get.”

Imagining Miranda as the steward of an alternate Marvel universe – Comic-Con, but for musical theatre geeks – restores him to what, prior to the opening of Hamilton in 2015, was his quieter role in the cultural landscape: as the champion of a much-loved, much-mocked art form that rarely troubled mainstream popular culture. Hamilton changed all that. The show not only won 11 Tonys, a Pulitzer, and more than $850m in box office receipts, it conferred on Miranda a singular status, variously crediting the 41-year-old with reanimating history, diversifying Broadway, and provoking children all over the world to memorise large chunks of lyrics about America’s revolutionary politics, some of them concerned with the restructuring of the national debt. (“Hey yo, I’m just like my country / I’m young, scrappy and hungry / And I’m not throwing away my shot” – still being hammered out at a million barmitzvahs). The most surprising thing about all this, perhaps, is that Miranda, appearing today in his customary flat cap and goatee, has the boundless enthusiasm and apparent absence of cynicism of the aspiring artist still untouched by success.

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‘We’re taking the man out of the myth’: the musical reclaiming Rumi from Instagram

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A new stage production aims to tell the Sufi poet’s story beyond his aphorisms – and challenge assumptions about Islam and the Middle East in the process

He is everywhere and nowhere. The words of Jalal al-Din Rumi are found on sunset images pasted on Instagram and coffee mugs sold on Etsy; his poems have been featured in recordings from Madonna and Coldplay and he is reputed to be the bestselling poet in the US. Rumi’s observations and aphorisms on life may be endlessly cited – “You are not a drop in the ocean, you are the entire ocean in a drop” – but few in the west know him as anything more than a bearded Sufi mystic.

“Rumi has become a mystical, almost deified figure,” says Nadim Naaman. “The reality is that he was the opposite of an untouchable deity.” Naaman, a British Lebanese singer, actor and writer, has collaborated with the Qatari composer Dana Al Fardan to create Rumi: The Musical. “Our approach was to take the man out of the myth,” says Al Fardan, “and to present him as human being.” This is the second time Naaman and Al Fardan have brought a beloved Middle Eastern poet to the London stage. Their 2018 show Broken Wings, which is returning to London in the new year, was based on a novel by the Lebanese poet and writer Kahlil Gibran. It was the success of that production that convinced them there may be an appetite for a musical that delved into the life of Rumi.

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On my radar: Damon Albarn’s cultural highlights

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The musician and composer on a magical performance by Udo Kier, a west African drumming app and where to find a taste of Palestine

Damon Albarn was born in east London in 1968. Interested in music from a young age, he studied at East 15 Acting School and then Goldsmiths, where he co-founded the band that helped kick off Britpop. As well as recording eight studio albums with Blur, Albarn also co-created Gorillaz and the Good, the Bad & the Queen, spearheaded the collaborative organisation Africa Express and has scored stage productions including Monkey: Journey to the West and Dr Dee. He lives in Notting Hill, west London, with his partner, Suzi Winstanley. On 12 November, Albarn releases his second solo album The Nearer the Fountain, More Pure the Stream Flows on Transgressive Records.

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Mark Gatiss: ‘I’m currently very, very ashamed of being English’

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The former League of Gentlemen star on his love of low-budget British spinechillers, his loathing of Brexit and a slew of projects opening this winter

Mark Gatiss scans the breakfast menu at an east London restaurant with a famished eye. We’re at the hinge moment between the nightlife of an A-lister, who attended the James Bond premiere the previous evening, and the day job as an actor who, by his own account, could only land a role he had wanted all his life by writing the play himself. “It was a long evening,” he says of No Time to Die. He hadn’t had dinner and was trying to stave off the hunger pangs by sipping water, but not too much, because he couldn’t get out to the loo: “So I’m just really hungry.” He’s like a jovial Eeyore, painting himself into a lugubrious picture of the turnip fields of celebrity, before deciding, with a giggle, that a hearty breakfast of avocado on toast is exactly what’s needed to put everything to rights.

This is certainly no time to die of hunger for Gatiss, who has rocketed out of the pandemic as one of British showbusiness’s most sought-after all-rounders. He’s currently putting the finishing touches to his remake of the 1972 children’s film The Amazing Mr Blunden while rehearsing his new adaptation of A Christmas Carol. The latest in a series of half-hour ghost stories, The Mezzotint, is ready to roll into his now customary slot on the Christmas TV schedules. But it’s not all fear and Victorian clothing, he spent part of the lost year in the Outer Hebrides, playing a country doctor in a first world war romance, The Road Dance, and another part messing about in a pedalo on a boating lake with his old League of Gentlemen muckers Steve Pemberton and Reece Shearsmith for a new series of their TV comedy Inside No 9.

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Mark Strong on acting, insecurity and life without a father: ‘I got angry as I got older. It took years to fix’

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After three decades on the stage and screen, the star is still worrying about where his next job will come from. Meanwhile, at home, he frets about letting down his family

Mark Strong has a good face for villainy – spare and inscrutable, with thin lips and “eyes like tunnels”, as Arthur Miller might have put it. On camera, he gives a sort of fractional disclosure, expressions altering in tiny increments, so that watching him perform is often an exercise in judging how much good can reasonably be seen in the bad. He specialises in antiheroes and authority figures, from gangsters (Kick-Ass, The Long Firm) to heads of intelligence (The Imitation Game, Body of Lies, Zero Dark Thirty). His latest incarnation – as a surgeon who operates in the criminal underground in the TV drama Temple, now in its second series – melds these roles as he crosses and recrosses the line between conscientious and cruel.

Although highly regarded for his work across stage, film and TV, Strong is not a big winner of awards (though he earned an Olivier for his outstanding portrayal of Eddie Carbone in Miller’s A View from the Bridge in 2015). He comes across as somehow outside the system. He is reputable rather than starry, plays parts rather than leads and has retained the air of a jobbing actor. Surely at 58, after 30 years of nearly constant work and more than 100 screen credits, with a voice so sonorous and distinctive it draws you to the depths, he deserves a bigger breakthrough. Is he frustrated by the lack of leading parts?

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Little Amal in Britain: giant puppet of Syrian refugee reaches Folkestone – video

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The giant puppet representing a nine-year-old Syrian girl has reached the UK, making her first stop in Folkestone, Kent, after walking thousands of miles across Europe.

Choirs sang and children greeted Little Amal on the beach on Tuesday. She had made the same cross-Channel journey taken so far this year by more than 17,000 people seeking refuge from conflict, hunger and persecution.

On the last leg of her journey, Little Amal will visit Canterbury, London, Oxford, Coventry, Birmingham, Sheffield and Barnsley before the extraordinary and complex 14-week travelling street theatre production ends in Manchester on 3 November

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‘People felt threatened even by a puppet refugee’: Little Amal’s epic walk through love and fear

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From being pelted with stones in Greece to receiving a papal welcome in Rome, the giant girl’s migrant trek from Syria to Manchester provoked powerful responses

In Greece, far-right protesters threw things at her as she walked through the streets, local councillors voted to ban her from visiting a village of Orthodox monasteries, and protests in Athens meant her route had to be diverted. In France, the mayor of Calais raised objections to her presence.

At times, the 8,000km journey across Europe of a 3.5m-tall puppet child refugee highlighted the hostility experienced by refugees who have been travelling along the same route from the Syrian border to the UK for years. Elsewhere, this ambitious theatrical project has triggered the scenes of welcome its artistic directors hoped to inspire when they embarked on this walk in July.

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‘There is a reason why famous people are often screwed up’: Tim Minchin on quitting comedy

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The Australian composer has returned to performing after a 10-year break. He writes about fame, failure and his surprise comeback

In 2003, I booked a tiny venue for Melbourne fringe festival, to perform a show I had tortuously titled Navel: Cerebral Melodies With Umbilical Chords. It was a sort of dark, ridiculous cabaret, and a desperate attempt to shake off the pain of all the rejections I had been getting (agents/record companies/the dude who approves small loans at the bank), by showcasing my various “talents”, which arguably included unusually clear diction, considerable manual dexterity, and a love of cheap double entendre. (Which is to say there were some outstanding jokes about fingering.)

Navel was a gamechanger for me, because I knew I had an unusual toolkit, and although I knew I had a tendency to play the clown, I didn’t by any stretch think of myself as a comedian. But that night, everything changed: the 30-odd weirdos perched on bar stools and chaises longues laughed. A lot.

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Netflix’s Diana: The Musical is the year’s most hysterically awful hate-watch | Stuart Heritage

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The filmed Broadway show has crash-landed early on the streamer with hilariously awful songs, a musical mess to rival Cats

Logically, it makes perfect sense that Diana: The Musical should exist. After all, Diana, Princess of Wales lends herself extraordinarily well to musical theatre. Hers was a story of wealth and betrayal, of high camp and tragedy, plus she also happened to be an enormous fan of the medium. If you built a time machine and used it to tell Diana that she would one day get her own Evita, she would be absolutely thrilled.

However, Diana died a quarter of a century ago and will never get to see Diana: The Musical. Some people get all the luck.

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Diana: The Musical review – a right royal debacle so bad you’ll hyperventilate

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This filmed version of the Broadway show, with its accidental comedy and cringeworthy lines, is a guilty-pleasures singalong in waiting

And … so … it’s … springtime for glamour and victimhood, winter for Windsors and Charles. Netflix have now given us the filmed version of the entirely gobsmacking and jawdropping Broadway show Diana: The Musical, shot at the Longacre theatre on West 48th Street last summer with no audience while the show itself was on pause due to the Covid pandemic. And while you’re waiting for Pablo Larraín’s movie Spencer, starring Kristen Stewart as Diana, this will have to do. Although there is a danger it will cause you to hyperventilate.

Not since the Cats movie have I literally shouted from my seat: “What? What? WHAT?” Only by having Diana ride on stage on the back of a Jellicle cat could this be more bizarre. If it was deliberate satire it would be genius, but it’s not. It’s a saucer-eyed retelling of the life of Diana, Princess of Wales, with bobbing chorus lines of footmen and flunkies who with a costume change morph into step-in-time phalanxes of snarling tabloid hacks, while Diana solemnly warbles downstage about her loneliness and determination in a pool of follow spotlight.

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Dita Von Teese: ‘Even when I was a bondage model, I had big-time boundaries’

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As the star dives into a giant glass of fizz for her first online extravaganza, she talks about this new golden age for burlesque, why the French Strictly gives her costume problems – and how #MeToo has changed her

Dita Von Teese is looking divine. Her lips are that signature red, she’s wearing 1950s cat eye glasses, and her black hair falls in a thick wave across a Snow White skin – and all this on the unglamorous stage of a glitchy Zoom call. Only knowing Von Teese from her femme fatale image, her teasingly aloof burlesque performances, and her time in the tabloids as former wife of goth rocker Marilyn Manson, you might expect an icy demeanour, an impermeable mystique. So it’s surprising to discover quite how normal she is: chatty, self-deprecating, not very vampish. It’s easy to see traces of Heather Sweet, the “super shy” girl from small-town Michigan who transformed into Von Teese.

The reason for our conversation is a new film, Night of the Teese, made with director Quinn Wilson and featuring some of Von Teese’s classic routines alongside guest performers from male burlesque artist Jett Adore to hula-hoop virtuoso Marawa. While others rushed out online content during the pandemic, Von Teese took her time to get the details right. “When I was watching a certain famous talkshow host doing his show from his backyard, I thought, ‘Oh, you really do need some showbusiness,’ you know?”

Von Teese is all about the showbusiness, from the giant clam shell she emerges from in her opening routine to the finale bathing in a fizz-filled champagne coupe. It’s a land of satin, ostrich feathers and diamanté nipple pasties, with each of her many-layered outfits drenched in sparkle. “I love trying to come up with the most complicated striptease costume,” she smiles. “That’s my speciality.”

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Tony awards 2021: Australian musical Moulin Rouge! triumphs in a Broadway celebration

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The adaptation of Baz Luhrmann’s musical picked up 10 awards in a ceremony that also acted as a comeback for New York theatre

Moulin Rouge! swept the board at the 2021 Tony awards, picking up 10 trophies during a ceremony that also acted as a celebration of the return of Broadway.

The adaptation of Baz Luhrmann’s 2001 Oscar-winning musical, which reopened on 24 September, became the first Australian-produced show to win a Tony for best musical, beating Jagged Little Pill and Tina: The Tina Turner Musical.

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‘We didn’t want to do a Grease’: how Everybody’s Talking About Jamie became a film

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How do you turn hit musicals like Everybody’s Talking About Jamie and Dear Evan Hansen into films? You axe songs, throw out plots and don’t worry about anyone’s favourite bit

Choosing a stage musical to see right now can feel like browsing the cinema listings of the 1980s and 90s. Pretty Woman and Back to the Future are playing across the street from one another in London’s West End, with The Lion King, Matilda and Heathers nearby. Indecent Proposal opens next month.

The speed of traffic travelling in the opposite direction, from stage to screen, tends to be a little faster, though. A film of Dear Evan Hansen, the Broadway hit about an anxious, alienated student who pretends to have been friends with a suicide victim, has arrived only five years after it opened, with Julianne Moore and Amy Adams among the cast. Everybody’s Talking About Jamie, which follows a 16-year-old budding drag queen from Sheffield, has taken just four years, picking up Richard E Grant and Sharon Horgan along the way.

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Rebellion and redemption: how the Slits gave a voice to female prisoners

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Playwright Morgan Lloyd Malcolm on how the groundbreaking female punk band helped her tell the story of women suffocating in the prison system

It was a bit of a “pinch me” moment, to be honest. Earlier this month I sat in the rehearsal room for Typical Girls and watched our incredible cast play the music of the Slits to Tessa Pollitt, an original member of the band.

When I first started writing this show, never in my wildest dreams could I have imagined we would get to this point. This absolute legend, punk royalty, was beaming at the liveness of it all and so were we. This is what we’ve all been aching to do.

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Mugabe, My Dad & Me review – a powerful personal tale of celebration and healing

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York Theatre Royal
Tonderai Munyevu’s semi-autographical show addresses Zimbabwe’s traumatic history with honesty and humour

Clothes hang in broken rows above the bare stage (Nicolai Hart-Hansen’s design). Dresses, suits, uniforms – they are presences that suggest absences, the “ghosts” of the people in the stories that Tonderai Munyevu and Millie Chapanda are bringing to life through words and music.

The text of Mugabe, My Dad & Me, written by Munyevu, is an assemblage of the events that have shaped his complicated identity as a “gay, black Zimbabwean man”. The narrative is set in motion by a white man’s question: “Where are you from?” Never shrinking from confronting the (overwhelmingly white) audience with the lazy tropes of the colonial mindset, Munyevu sets before us intersecting histories, both personal and political, “bouncing, non-linear” between Zimbabwe and the UK, past and present.

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‘It’s the balm we need right now’: how Broadway fought its way back

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The long theatre shutdown in New York has taken its toll on the industry but a renewed and reinvigorated outlook towards diversity could have a major impact

When Ruben Santiago-Hudson walks on stage at the Manhattan Theatre Club on Tuesday night, the electric charge between actor and audience will spark back to life. Then the healing will begin.

“It is the balm that we all need right now, not just on stage, but in our city,” says Santiago-Hudson, writer, performer and director of Lackawanna Blues, one of a record seven works by Black playwrights opening on Broadway this autumn. “It’s a necessity, it’s in us as human beings. Theatre has always been the great gathering place – church and theatre.”

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