#Karen Fishwick

[storyofmorewhoa]

Ghosts in Erica Whyman's Romeo and Juliet (2018)

[lobotomist-at-claires]

just watched the 2018 royal shakespeare company production of romeo & juliet and i think that was genuinely one of the greatest performances i have ever witnessed. 10/10 would recommend👍

[oughttobeclowns]

Review: 101 Dalmatians, Open Air Theatre

Review: 101 Dalmatians, Open Air Theatre Not the one for me. At all.

Long-awaited and strong of pedigree, this musical version of 101 Dalmatians at the Open Air Theatre proves to be a dog of a show “You buried that bone somewhere” Yaaaas kween! Or not as the case may be. The transformation of Cruella de Vil into an East London social media influencer is a bold swing from this new musical treatment of 101 Dalmatians but for me, it was a big miss. Written by Douglas…

[nicelytousled]

I watched Act 3 of the Royal Shakespeare Company 2018 Romeo and Juliet the other day on TV and I can't stop thinking about Scene 5 where Juliet is being forced to marry Paris and she's with her nurse and she begs comfort me counsel me alack alack that heaven should practise stratagems upon so soft a subject as myself. what say'st thou? hast thou not a word of joy? some comfort, nurse

and then that gentle betrayal follows and she realises that she is entirely alone and she lies well, thou hast comforted me marvellous much

[hayleysprout13]

Wife @ Kiln Theatre

review --- Wife @ Kiln Theatre

Rating: ⭐⭐⭐⭐⭐ Tickets and more information: Booking until: 6th July 2019 Production Photos by: Marc Brenner Run time: 2hr 30mins.

Wife takes place over 3 decades, starting with one woman’s sexuality identity crisis and how this affects the generations that follow hers, all the while centered around various productions of Ibsen’s A Doll’s House.

Long story short, I really loved this. Superbly…

[peterviney1]

The Merry Wives of Windsor – RSC 2018 review This is what the RSC does so superbly: the Royal Shakespeare Company's The Merry Wives of Windsor (FOLLOW LINK TO REVIEW…

[willstafford]

Young Blood

ROMEO AND JULIET

Royal Shakespeare Theatre, Stratford upon Avon, Wednesday 20th June, 2018

  Erica Whyman’s new production of Shakespeare’s evergreen tragedy has a contemporary if abstract setting.  Her Verona is a place of rusting plate metal, with a multi-purpose construction at the centre, a hollow cube providing a raised level (the balcony) and an interior (the Friar’s cell).  It’s a stark…

[henrywotton]

Picture of Dorian Gray, Dream-Cast as promised!

Ben Hardy as Dorian Gray: I saw him in Bohemian Rhapsody and it sort of just clicked that he’d be a fantastic Dorian- he has the ability the right sort of violent capriciousness of Dorian and he also has the church-angel-mural face and youthful somewhat androgynous beauty.

Charlie Cox as Basil Hallward: I have to admit I was a bit stumped for Basil because he’s not terribly well described in how he looks. I chose Charlie Cox because I like him a lot as an actor, and I can imagine a combination of the sweetness he radiated in some parts of Stardust combined with the painful privacy he portrayed in Daredevil would make him a good choice.

Matthew Goode as Lord Henry Wotton: His voice, appearance and manner cried out to me immediately as the kind of guy who can seduce you away from morality with dark aesthetic philosophy. He felt evident to me quickly.

Karen Fishwick as Sibyl Vane: I saw her this summer as Juliet at the RSC and she was positively wonderful. She played Juliet beyond a tragic ingenue type and gave her a lot of interest and power beyond what I had expected. I would kill to see her breathe a little life into Sibyl. (And yes I know Sibyl is dark-haired. Hair dye is a thing. I know we all like to get upset about these things.)

Emory Cohen as James Vane: For some reason for James Vane, I wanted to look outside the scope of British Period Dramas from which I tried to draw actors. Vane is a little coarser and from a different class, world, and way of life from the other characters, so I threw caution to the wind and went with this choice on instinct.

Rebecca Front as Mrs. Vane: Her performance as Anna Mikhailovna in War and Peace on BBC really sold her for me, though I felt like the scriptwriting did Anna really dirty and I want to see a role done right by this great actress

Kate Phillips as Lady Wotton: if I’m honest this is almost 100% a mental image pick.

[scottishdreams]

Glasgow > | Streetwise and modern - Karen Fishwick's take on Romeo and Juliet

...really pleased people in Glasgow will get to see the show. Obviously ... so there’ll be other Glasgow accents up there as well.”The latter... https://ift.tt/2UxupXA

[storyofmorewhoa]

...Methinks I see my cousin's ghost Seeking out Romeo, that did spit his body Upon a rapier's point: stay, Tybalt, stay!

Romeo and Juliet (2018) directed by Erica Whyman and Bridget Caldwell

[bwthornton]

In Stratford-upon-Avon tonight the first preview performance of Romeo and Juliet at the Royal Shakespeare Theatre Featuring featuring Bally Gill and Karen Fishwick #StratforduponAvon #Theatre #Culture

https://stratford-upon-avon-theatre.blogspot.co.uk/2018/03/rsc-romeo-and-juliet-by-william.html

[westendwilma]

Lovely chatting about Our Ladies Of Perpetual Succour with Karen Fishwick this afternoon and mega lolz had making her answer in different accents 😂

[londontheatre]

Our Ladies of Perpetual Succour. Dawn Sievewright (Fionnula), Isis Hainsworth (Orla), Caroline Deyga (Chell), Frances Mayli McCann (Kylah), Kirsty MacLaren (Manda). Photo credit Manuel Harlan

The Sopranos, the book on which Our Ladies of Perpetual Succour is based, has more characters than the stage show, and occasionally the reader encounters two characters of the same name, differentiated, perhaps inevitably by nicknames. This stage production simplifies that and many other aspects of the novel, but somehow, all of the salient points are there. Given that the play is able to run without an interval, adapting a 300+ page book into a 105-minute show without leaving me feeling short-changed is quite an achievement.

I’ve moaned about precocious swearing before in the theatre, though here it seems commensurate with this set of schoolgirls, rebelling against a strict Catholic school regime. There is plenty of what can only be deemed schoolgirl humour, crude with a capital C. It’s really not for everyone, and the more unshockable those who go to this show are, the better. It’s not so much what is seen (unless you are shocked by sparks and theatrical fog) but what is described. And I’m glad so much is described rather than acted out.

For the most part, it is all very silly, but highly enjoyable, even if it did take a while to grow on me. It goes at a brisker pace than the novel, thank goodness, but without feeling rushed. Although I wasn’t offended by anything, not all the punchlines were funny. Some in the press night audience were stony-faced throughout, others crying with laughter. Few laughed in moderation. There’s Manda (Kirsty MacLaren), who thinks she bathes like Cleopatra did because she puts two scoops of powdered milk in the hot tub. There’s Chell (Caroline Deyga), whose sister is (by way of lengthy, and credible, explanation) also her auntie. There’s Orla (Isis Hainsworth), a cancer survivor whose story about getting frisky with a fellow patient while she was in hospital is frankly comical. The on-stage band, also all-female, are also worthy of mention: Amy Shackcloth (musical director/keyboards), Lilly Howard (assistant MD/keyboards), Becky Brass (percussion) and Emily Linden (guitars/bass/mandolin).

It becomes clear that these are teenagers finding their way in life, and dare I say it, they are on a journey of sorts, not just to the knockout stages of a regional school choir competition, but looking to the future in the big bad world, beyond the gated perimeter of their school. Much of the music that features in this play is not the sort of thing I would ordinarily listen to, being far removed from the usual show tune fare to be found in a number of other West End shows. Relying heavily on the back catalogue of the Electric Light Orchestra, sprinkled with traditional church pieces and the Brookside theme tune (don’t ask), all of these songs are performed with verve and perfect harmony. The odd note is out of place, but only for comic effect.

Could there have been a little more staging? A relatively sparse set allows for almost instant scene changes, which keeps the show’s momentum going. But I’ve not been transported to non-specific every-place since Once the Musical hit the West End four years ago. More to the point, I wonder if there was enough in the script to distinguish between different characters. Debatably the most distinct, Kay (Karen Fishwick), starts off as a version of Hermione Grainger, studious and conscientious, but predictably turns out to be the most daring or most indecorous, depending on your point of view of lewd behaviour. But I hope I’m right in judging this play to be one that deliberately asserts that people are not all that different from one another.

The stage show stays faithful to the novel’s setting, before the era of mobile phones – these young ladies had to agree beforehand where to meet later, which took me back more than a few years. As with the profanity, slow-motion scenes are usually a bugbear of mine, but in this show, it’s used sparingly, just the once, and for excellent dramatic effect, hilarious and harrowing in equal measure. It does have the whiff of a student production about it, with young performers playing minor characters who are considerably older. But as one character says to another at one point, “It’s not that bad, it’s just a lot of fun.”

In the last few months, more than one producer has questioned me directly about whether a certain show praised by critics and audiences in a smaller London theatre would succeed if a West End transfer were considered. Our Ladies of Perpetual Succour proves there is an audience for the quirky, unconventional production. The blunt honesty of these characters is so refreshing and their energy is extraordinary. This isn’t so much a coming of age story as a rite of passage tale. A surprisingly captivating and compelling show.

Review by Chris Omaweng

Following sold out seasons at the National Theatre, Edinburgh Festival Fringe and UK Tour, the smash hit, award-winning new play Our Ladies of Perpetual Succour transfers to the West End for a strictly-limited season.

From the creator of Billy Elliot (Lee Hall) comes the uplifting and moving story of six Catholic choir girls from Oban, let loose in Edinburgh for one day only. Funny, heartbreaking and raucously rude, Our Ladies of Perpetual Succour is adapted from Alan Warner’s brilliant novel, and directed by Vicky Featherstone.

Featuring the songs of ELO, Our Ladies is a glorious anthem to friendship, youth and growing up disgracefully.

Age recommendation 16+ Prepare thyself for: really rude language, flashing lights, pyrotechnics, lots of sexual references, excessive drinking, and extensive use of the smoke machine.

OUR LADIES OF PERPETUAL SUCCOUR Booking Period: 9 May 2017 – 2 September 2017 Running Time: 1 hour 45 mins – NO INTERVAL Age Recommendation: 16+

Duke of York’s Theatre 45 St Martin’s Lane, London, WC2N 4BG Book Tickets for Our Ladies Of Perpetual Succour

http://ift.tt/2ramyUy LondonTheatre1.com

[hottytoddynews]

Olivier Awards: Top Prizes Go to Harry Potter and the Cursed Child and Groundhog Day

Going in, U.K.’s Olivier Awards, handed out yesterday at London’s Royal Albert Hall, looked to be a Harry Potter-dominated affair. It turned out to be true. On the West End’s biggest theater occasion, John Tiffany’s smash two-part production of J.K. Rowling’s book Harry Potter and the Curse Child led the pack with a record-breaking 11 nominations. It won nine: Best New Play, Director, Best Actor – Jamie Parker, Supporting Actor, Supporting Actress, Costumes, Design, Lighting, and Sound.

It arrives for its Broadway debut next Spring at Ambassador Theatre Group’s Lyric Theatre, which will undergo massive renovations upon the close of Cirque du Soleil’s Paramour – one major redo will be relocating the entrance to 43rd Street.

Tiffany was twice blessed with director nominations for Harry Potter… and the revival of The Glass Menagerie, starring Best Actress nominee Cherry Jones.

In the musical category, the stage adaptation of the 1993 film Groundhog Day, which has a huge cult following, by Tim Minchin and Danny Rubin (book) picked up eight nominations. It took trophies for Best New Musical and Best Actor – Andy Karl, who’s reprising his role here. The show is in previews for its opening today [April 17].

The much-belated London premiere of Henry Krieger and Tom Eyen classic musical Dreamgirls landed five nominations, with Amber Riley (Glee) named Best Actress for her powerhouse turn as Effie. It also scored a Supporting Actor win.

Tim Rice and Andrew Lloyd Webber’s Jesus Christ Superstar received six nominations, and took the award for Best Musical Revival, for a highly-acclaimed production in Regent’s Park, being revived again this summer.

After a 25-year absence from the stage, Glenda Jackson earned her first nomination since 1984 as King Lear in the play of the same name. Ian McKellen picked up his 10th nomination for best actor for No Man’s Land, reprising a role he played on Broadway. 

Other notable U.S. nominees included Glenn Close and Ed Harris. 

Top winners: 

Best New Play Elegy – Nick Payne The Flick – Annie Baker * Harry Potter and the Cursed Child – Jack Thorne, John Tiffany, and J.K. Rowling One Night in Miami – Kemp Powers

Best Actress Glenda Jackson, King Lear  Cherry Jones, The Glass Menagerie * Billie Piper, Yerma Ruth Wilson, Hedda Gabler 

Best Actor Ed Harris, Buried Child Tom Hollander, Travesties Ian McKellen, No Man’s Land * Jamie Parker, Harry Potter and the Cursed Child

Best Supporting Actress The ensemble of Melissa Allan, Caroline Deyga, Kirsty Findlay, Karen Fishwick, Kirsty MacLaren, Frances Mayli McCann, Joanne McGuinness, and Dawn Sievewright, Our Ladies of Perpetual Succour * Noma Dumezweni, Harry Potter and the Cursed Child Clare Foster, Travesties Kate O’Flynn, The Glass Menagerie 

Best Supporting Actor * Anthony Boyle, Harry Potter and the Cursed Child Freddie Fox, Travesties Brian J Smith, The Glass Menagerie Rafe Spall, Hedda Gabler

Best New Comedy The Comedy about a Bank Robbery – Henry Lewis, Henry Shields, and Jonathan Sayer Nice Fish – Mark Rylance and Louis Jenkins * Our Ladies of Perpetual Succour – Lee Hall The Truth – Florian Zeller  

Best Play Revival The Glass Menagerie – Tennessee Williams This House – James Graham  Travesties – Tom Stoppard * Yerma – Federico Garcia Lorca

Best New Musical Dreamgirls – Henry Krieger and Tom Eyen  The Girls – Gary Barlow * Groundhog Day – Tim Minchin and Danny Rubin School of Rock – Andrew Lloyd Webber, Glenn Slater, and Julian Fellowes

Best Actress, Musical Glenn Close, Sunset Boulevard The ensemble of Debbie Chazen, Sophie-Louise Dann, Michele Dotrice, Claire Machin, Claire Moore, and Joanna Riding, The Girls * Amber Riley, Dreamgirls Sheridan Smith, Funny Girl

Best Actor, Musical David Fynn, School of Rock Tyrone Huntley, Jesus Christ Superstar * Andy Karl, Groundhog Day Charlie Stemp, Half a Sixpence

Best Supporting Actress, Musical Haydn Gwynne, The Threepenny Opera Victoria Hamilton-Barritt, Murder Ballad * Rebecca Trehearn, Show Boat Emma Williams, Half a Sixpence 

Best Supporting Actor, Musical Ian Bartholomew, Half a Sixpence * Adam J Bernard, Dreamgirls Ben Hunter, The Girls Andrew Langtree, Groundhog Day 

Best Director Simon Stone, Yerma * John Tiffany, Harry Potter and the Cursed Child Matthew Warchus, Groundhog Day

Outstanding Achievement in Music Henry Krieger and Tom Eyen’s  Dreamgirls Imogen Heap, Harry Potter and the Cursed Child  Tim Rice and Andrew Lloyd Webber’s Jesus Christ Superstar – “The band and company creating the gig-like rock vibe of the original concept album” * Andrew Lloyd Webber, Glen Slater’s School of Rock – “Three children’s bands, playing instruments live at every performance”

The Oliviers are produced/presented by the Society of London Theater. For a complete list of nominations and winners, visit http://ift.tt/IHbXPB. 

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Ellis Nassour is an Ole Miss alum and noted arts journalist and author who recently donated an ever-growing exhibition of performing arts history to the University of Mississippi. He is the author of the best-selling Patsy Cline biography, Honky Tonk Angel, as well as the hit musical revue, Always, Patsy Cline. He can be reached at ENassour@aol.com. 

Follow HottyToddy.com on Instagram, Twitter and Snapchat @hottytoddynews. Like its Facebook page: If You Love Oxford and Ole Miss…

The post Olivier Awards: Top Prizes Go To Harry Potter And The Cursed Child And Groundhog Day appeared first on HottyToddy.com.

[streamingstream]

Betroffenheit荣获2017劳伦斯·奥利佛戏剧奖最佳新舞剧奖

上周末英国的劳伦斯·奥利佛戏剧奖（Laurence Olivier Awards）公布了，之前强烈推荐的Betroffenheit拿下了年度最佳新舞剧奖（Best New Dance Production）！

有人说Jonathon穿上正装瞬间变得更帅了... :

获得舞蹈类另外一个杰出成就奖（Award for Outstanding Achievement）还有英国皇家国家舞团（English National Ballet）。

科普一下，劳伦斯·奥利佛戏剧奖，正式全称为劳伦斯·奥利弗奖（Laurence Olivier Awards），一般直接称作Olivier Awards。

是由伦敦戏剧协会（Society of London Theatre）颁发的英国最重要的年度戏剧类奖项。Olivier Awards在英国之戏剧的重要性可以相媲美于托尼奖（Tony Awards）之美国百老汇，莫里哀奖（Molière Award）之法国戏剧，英国电影和电视艺术学院奖（BAFTA Awards ）之英国影视，全英音乐奖（BRIT Awards）之英国音乐。

YouTube全程视频链接： 

最后，附一个今年的完整获奖名单：

Best actress

Winner: Billie Piper for Yerma at the Young Vic

Also nominated: GlendaJackson for King Lear at The Old Vic Cherry Jones for The Glass Menagerie at the Duke of York’s Theatre Ruth Wilson for Hedda Gabler at the Lyttelton, National Theatre

Best new comedy

Winner: Our Ladies of Perpetual Succour at theDorfman, National Theatre

Also nominated: The ComedyAbout a Bank Robbery at the Criterion Theatre Nice Fish at the Harold Pinter Theatre The Truth at Wyndham’s Theatre

Outstanding achievement in an affiliate theatre

Winner: Rotterdam at Trafalgar Studios 2

Also nominated: Cuttin’ It atthe Maria, Young Vic The Government Inspector at Theatre Royal Stratford East The Invisible Hand at Tricycle Theatre It Is Easy To Be Dead at Trafalgar Studios 2

Best lighting design

Winner: Neil Austin for Harry Potter and the CursedChild at the Palace Theatre

Also nominated: Lee Curran for Jesus Christ Superstar at Regent’s Park Open Air Theatre Natasha Katz for The Glass Menagerie at the Duke of York’s Theatre Hugh Vanstone for Groundhog Day at the Old Vic

Best sound design

Winner: Gareth Fry for Harry Potter and theCursed Child at the Palace Theatre

Also nominated: Paul Ardittifor Amadeus at the Olivier, National Theatre Adam Cork for Travesties at the Apollo Theatre Nick Lidster for Autograph for Jesus Christ Superstar at Regent’s Park Open AirTheatre

Best costume design

Winner: Katrina Lindsay for Harry Potter and theCursed Child at the Palace Theatre

Also nominated: Gregg Barnesfor Dreamgirls at the Savoy Theatre Hugh Durrant for Cinderella at London Palladium Rob Howell for Groundhog Day at the Old Vic

Best set design

Winner: Christine Jones for Harry Potter and theCursed Child at the Palace Theatre

Also nominated: Bob Crowleyfor Disney’s Aladdin at the Prince Edward Theatre Bob Crowley for The Glass Menagerie at the Duke of York’s Theatre Rob Howell for Groundhog Day at the Old Vic

Best actor in a supporting role

Winner: Anthony Boyle for Harry Potter and the CursedChild at the Palace Theatre

Also nominated: Freddie Fox for Travesties at the Apollo Theatre Brian J. Smith for The Glass Menagerie at the Duke of York’s Theatre Rafe Spall for Hedda Gabler at the Lyttelton, National Theatre

Best actress in a supporting role

Winner: Noma Dumezweni for Harry Potter and theCursed Child at the Palace Theatre

Also nominated: MelissaAllan, Caroline Deyga, Kirsty Findlay, Karen Fishwick, Kirsty MacLaren, FrancesMayli McCann, Joanne McGuinness and Dawn Sievewright for Our Ladies Of PerpetualSuccour at the Dorfman, National Theatre Clare Foster for Travesties at the Apollo Theatre Kate O’Flynn for The Glass Menagerie at the Duke of York’s Theatre

Best new opera production

Winner: Akhnaten at London Coliseum

Also nominated: 4.48Psychosis at the Lyric Hammersmith Così Fan Tutte at Royal Opera House Lulu at London Coliseum

Outstanding achievement in opera

Winner: Mark Wigglesworth for his conducting of DonGiovanni and Lulu at London Coliseum

Also nominated: Renée Flemingfor her performance in Der Rosenkavalier at the Royal Opera House Stuart Skelton for his performance in Tristan and Isolde at London Coliseum

Best revival

Winner: Yerma at the Young Vic

Also nominated: The GlassMenagerie at the Duke of York’s Theatre This House at the Garrick Theatre Travesties at the Apollo Theatre

Best actor

Winner: Jamie Parker for Harry Potter and the CursedChild at the Palace Theatre

Also nominated: Ed Harris forBuried Child at Trafalgar Studios 1 Tom Hollander for Travesties at the Apollo Theatre Ian McKellen for No Man’s Land at Wyndham’s Theatre

Best new play

Winner: Harry Potter and the Cursed Child at thePalace Theatre

Also nominated: Elegy atDonmar Warehouse The Flick at the Dorfman, National Theatre One Night In Miami… at Donmar Warehouse

Best director

Winner: John Tiffany for Harry Potter and theCursed Child at the Palace Theatre

Also nominated: Simon Stonefor Yerma at the Young Vic John Tiffany for The Glass Menagerie at the Duke of York’s Theatre Matthew Warchus for Groundhog Day at the Old Vic

Best new dance production

Winner: Betroffenheit by Crystal Pite and JonathonYoung at Sadler’s Wells

Also nominated: Blak Whyte Gray by Boy Blue Entertainment at Barbican Theatre Giselle by Akram Khan and English National Ballet at Sadler’s Wells My Mother, My Dog and Clowns! by Michael Clark at Barbican Theatre

Outstanding achievement in dance

Winner: English National Ballet for expanding thevariety of its repertoire with Giselle and She Said at Sadler’s Wells

Also nominated: Alvin AileyAmerican Dance Theater for its London season at Sadler’s Wells Luke Ahmet for The Creation by Rambert at Sadler’s Wells

Best theatre choreographer

Winner: Matthew Bourne for The Red Shoes at Sadler’sWells

Also nominated: Peter Darling and Ellen Kane for Groundhog Day at the Old Vic Steven Hoggett for Harry Potter and the Cursed Child at the Palace Theatre Drew McOnie for Jesus Christ Superstar at Regent’s Park Open Air Theatre

Outstanding achievement in music

Winner: School of Rock the Musical at the New LondonTheatre (three children's bands who play instruments live every night)

Also nominated: Dreamgirls atSavoy Theatre (music by Henry Krieger) Harry Potter and the Cursed Child at Palace Theatre (composer and arrangerImogen Heap) Jesus Christ Superstar at Regent’s Park Open Air Theatre (the band and companycreating the gig-like rock vibe of the original concept album of Jesus ChristSuperstar)

Best entertainment and family

Winner: The Red Shoes at Sadler’s Wells

Also nominated: Cinderella atLondon Palladium David Baddiel – My Family: Not The Sitcom at the Vaudeville Theatre Peter Pan at the Olivier, National Theatre

Best actor in a supporting role in a musical

Winner: Adam J Bernard for Dreamgirls at the SavoyTheatre

Also nominated: IanBartholomew for Half A Sixpence at the Noël Coward Theatre Ben Hunter for The Girls at the Phoenix Theatre Andrew Langtree for Groundhog Day at the Old Vic

Best actress in a supporting role in a musical

Winner: Rebecca Trehearn for Show Boat at the NewLondon Theatre

Also nominated: Haydn Gwynnefor The Threepenny Opera at the Olivier, National Theatre Victoria Hamilton-Barritt for Murder Ballad at the Arts Theatre Emma Williams for Half A Sixpence at the Noël Coward Theatre

Best musical revival

Winner: Jesus Christ Superstar at Regent’s ParkOpen Air Theatre

Also nominated: Funny Girl atthe Savoy Theatre Show Boat at the New London Theatre Sunset Boulevard at London Coliseum

Best actor in a musical

Winner: Andy Karl for Groundhog Day at the Old Vic

Also nominated: David Fynnfor School of Rock the Musical at the New London Theatre Tyrone Huntley for Jesus Christ Superstar at Regent’s Park Open Air Theatre Charlie Stemp for Half A Sixpence at the Noël Coward Theatre

Best actress in a musical

Winner: Amber Riley for Dreamgirls at the SavoyTheatre

Also nominated: Glenn Closefor Sunset Boulevard at London Coliseum Debbie Chazen, Sophie-Louise Dann, Michele Dotrice, Claire Machin, Claire Mooreand Joanna Riding for The Girls at the Phoenix Theatre Sheridan Smith for Funny Girl at the Savoy Theatre

Best new musical

Winner: Groundhog Day at the Old Vic

Also nominated: Dreamgirls atthe Savoy Theatre The Girls at the Phoenix Theatre School of Rock the Musical at the New London Theatre

[peterviney1]

Romeo & Juliet RSC 2018 – review Review of Romeo & Juliet at the Royal Shakespeare Theatre, Stratford added. This was directed by Erica Whyman who did the A Midsummer Night's Dream- A Play For The Nation in 2016 at the RSC. As you'd guess, it's an urban youth setting, urgent, exciting.