#musical-theatre

#musical-theatre

Nine-time Tony-nominated jukebox musical & Juliet, which debuted in 2019 and is written by Schitt's Creek executive director David West Read, imagines what Juliet's life might've been like if she hadn't killed herself at 13 in Romeo and Juliet. At the suggestion of his wife, Shakespeare rewrites the greatest love story ever told and gives his heroine a not-so-tragic ending.

It's hard to think of a more unlikely backdrop for a romantic musical, considering that a 1911 fire killed 146 factory workers at the Triangle factory, many of whom leapt from windows because the owners kept the doors locked during their shifts. But the writers of Triangle - Curtis Moore and Thomas Mizer wrote the music and lyrics, and Mizer, Moore and Joshua Scher wrote the book - reveal the bliss of human connection among the ashes of the tragedy.

I grew up in a family where music was at the heart of everything. From an early age I studied piano, solfège, and voice, and my parents encouraged me every step of the way. Even though my father was a mathematician and physicist, he believed in exposing me to the arts-he sent me to folk dance, ballet, and later I graduated from the Conservatory in Budapest with a major in classical singing.

Swag Age is set in a fictional version of the Joseon Dynasty (Korea's last Imperial Dynasty that ended in 1910). The central theme is a classic one, with oppressed citizens using a subversive art form to rebel against their rulers. Yet it's one with contemporary. This is Swag Age's power and beauty: it's a creative collaboration between the old and the new, combining differing cultural references.

Starlight Express is a dazzling spectacle for the senses, performed entirely on roller skates. At its heart is Rusty, a humble steam engine with dreams of winning the crown - and the affection of a glamorous coach. As a child drifts into sleep, wheels begin to spin, toys spring to life, and a touch of magic transforms the night. Soon, three mighty engines prepare to race for the title of Fastest Engine in the World!

Following its acclaimed debut at the Edinburgh Fringe under the title Who Do Ya Love?, the show makes its London premiere at Charing Cross Theatre from 19 September to 15 November. With music and lyrics by Harry Wayne Casey (KC) himself and a book by J. F. Lawton (Pretty Woman: The Musical), Get Down Tonight tells the story of KC's early years, friendships and the creation of the era-defining Sunshine Sound a vibrant blend of disco, funk and R&B.

Paget was actually a queer trailblazer, at risk of fading into obscurity like so many LGBTQ+ figures from our past, until his story was resurrected by the Seiriol Davies, the creator of How To Win Against History, and brought to life as a spectacular, all-singing, all-dancing, musical extravaganza with more glitter and sequins than an auction of Elton John's old stage outfits.

Jurassiq Parq creatively fuses the iconic premise of Jurassic Park with queer themes, featuring outrageous drag, pop vocals, and a vibrant musical soundtrack filled with nostalgic hits.

The Fit Prince is a queer parody of the holiday movie genre set in the fictional kingdom of Swedonia, featuring real-life couple Linus Karp and Joseph Martin.

Johannes Radebe will make his West End debut as Lola in Kinky Boots at the London Coliseum starting March 17, 2026. He previously reached the final on Strictly Come Dancing.

If you're watching someone play a bad guy and there's nothing about the performance that makes you feel for the person or understand them in a deeper way, that's a fail to me.

There's always that uncertainty around movies being made into musical theatre, and it's hard to know whether it's going to work or not - but this one absolutely did.

Bernadette Peters expresses daily reminiscence of her late friend Stephen Sondheim, reflecting on her emotional connection and their shared artistic journey through his timeless music.

"Zhailon Levingston's approach is largely straightforward, yet one wishes for a more invigorating take on Wonderful Town, which would enhance its energy and freshness."

The exclamation mark in 'The Penzance Musical' reveals its attempt to be a lively, comedic adaptation, often sacrificing nuance for broad humor and spectacle.

There are moments of stillness in Floyd Collins that are unquestionably beautiful, showcasing the art of spatial relationships and composition on stage.