Benjamin Button is a West End winner

Ambassadors Theatre

Many 4 and 5 star reviews for The Curious Case of Benjamin Button. Based on an F Scott Fitzgerald short story, which also spawned a film starring Brad Pitt, the musical is about a man who lives his life in reverse. Created by Jethro Compton and Darren Clark, it transfers the action from America to Cornwall. The show has spent five years working its way up from the fringe to the refined version we now find in the West  End starring John Dagleish and Claire Foster.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

WhatsOnStage’s Alun Hood (5★) declared: ‘Already one of the best British musicals in decades, in this newest iteration, it looks like a world-beater.’ It is, he explained, ‘a complex but never confusing yarn about such universal themes as the passage of time, the nature of belonging, the meaning of home, and the redemptive power of love.’ of the two lovers st the centre of the story, he said, ‘Dagleish nails the eternal misfit’ and Clare Foster ‘is heartbreakingly good, conveying a life-affirming generosity of spirit as she moves from the restlessness of assertive youth to the infirmity of old age.’ He ended, ‘Timeless and heart-burstingly magical, there’s no other current West End musical I’d rather be at.’

Tim Robey, the Telegraph’s film critic (5★), said, ‘The show’s open-hearted lyricism achieves a truly warming glow, the likes of which we may not have seen since the Tony-winning Once, over a decade ago.’ Praise indeed. He concluded, ‘The musical’s creators, Jethro Compton and Darren Clark, haven’t just breathed new life into a literary gimmick but unlocked meanings I never guessed it could have.’

Aliya Al-Hassan of Broadway World (5★) described it as a ‘beautifully crafted show that vibrates with heart and soul’ and said, ‘The show is jam-packed with top quality, empathetic and carefully crafted songs, from the loud and vibrant to delicate and moving ballads.’

In the Standard (4★), Nick Curtis declared, ‘this is the version to treasure.’ ‘This musical really does touch the heart,’ felt Clive Davis in The Times (4★). ‘Clark’s melodies are sinuous and restless,’ he said.

Andrzej Lukowski in Time Out (4★) described it ‘an extraordinary thing, a soaring folk opera that overwhelms you with a cascade of song and feeling.’ He continued, ‘it has a joy, romance and big-hearted elan that stands in stark contrast to Fitzgerald’s cynicism and the dolefulness of Fincher’s sloggy film.’

Calling it ‘loveable’, Holly O’Mahony in The Stage (4★) said, ‘it’s atmospheric, with fishing nets and buoys hanging above a wooden, dock-like stage. Darren Clark’s folksy score is studded with Clark and Compton’s sea shanty-style songs, and there’s a determinedly upbeat essence to the music that prevents the bittersweet story from ever dwelling in its darkness.’

For The Guardian (4★), Emma John said, ‘Perhaps the winsomeness is occasionally overdone. But it’s impossible to be grudging about a production this warm, touching and vivacious.’ Fiona Mountford at i-news (4★) referred to ‘this charming show with its thrummingly tuneful score and fable-like quality’ and a ‘tender and achingly poignant, love story.’

In an insightful review at LondonTheatre (4★), Marianka Swain noted, ‘Luke Swaffield’s evocative soundscape features lapping waves and a whistling wind; there’s a sense of the vast eternity of nature, in sharp contrast to the brief span of a human life. We must make every moment count.’

The Observer’s Susannah Clapp (4) declared , ‘It’s a wave-like movement, a constant musical surge – more jig than gig – that sweeps the evening along. Warmly. Curiously.’

Just when it seemed the reviews were universally excellent, along came Dominic Maxwell in The Sunday Times (2) describing it as ‘insufferably cute’.

Critics’ average rating 4.3 ★

Value rating 53 (Value rating is the Average Critic Rating divided by the typical ticket price)

The Curious Case of Benjamin Button can be seen at the Ambassadors Theatre until 15 February 2025.  Buy tickets direct from theambassadorstheatre

If you’ve seen The Curious Case of Benjamin Button at the Ambassadors, please add your review below 

The Garrick Theatre

Why Am I So Single? is the much anticipated follow up by Toby Marlow and Lucy Moss to their global phenomenon Six (or should that be SIX?). It arrived at the Garrick Theatre to slightly mixed reviews. All the critics agreed that it was musically strong- perhaps even better than Six– but there was disagreement about the story. Basically, the authors have looked at their own love lives and riffed on various aspects of dating, some light-hearted, some serious, in a not always coherent plot. Judging by the various reviewers’ reactions, it may be that this musical will appeal more to a younger generation (Generation Z?) who have had similar experiences. The stars Leesa Tulley and Jo Foster were widely praised.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

Sarah Crompton at WhatsOnStage (5★) summed up, it’s ‘a fabulous show about two writers who are best friends and are recognisably you, trying to write a successful hit musical, while agonising about their unhappy love lives.’ She was struck by the way ‘its wry tone and its vitality is underpinned by a truthful portrait of just how difficult it is to find love in these modern, confusing times – and by the honesty and the relationship at its heart.’ She concluded, ‘Its hymn to the pleasure of friendship is what tethers its exuberance to the ground and makes it so moving as well as so funny. There are moments when it could be pulled back, and it is marginally long, but once you give it your heart, it holds you.’

Isobel Lewis for the i (4★) was fully on board: ‘Why Am I So Single? has all the conventional trappings of a classic musical: an earworm-stuffed soundtrack, pithy script, sharp choreography from Ellen Kane and dynamic central performances. But it’s also a show that constantly subverts expectations, sneaking in complex ideas about identity, nostalgia and grief alongside the tongue-in-cheek “men are trash” rants.’

The Financial Times’ Sarah Hemming (4★) wrote, ‘It’s wickedly self-referential and completely daft’, and said, ‘the show has so much effervescent joy, and is delivered with such energy and heart by Foster, Tulley and the terrific ensemble, that it’s irresistible’.

The Stage’s Holly O’Mahony (4★) called it ‘a whip-smart musical comedy’, saying ‘The show’s deft brilliance is in the lyrics of its songs. Eight Dates, about the brutal ghostings and last-minute cancellations rife in online dating, bottles the phenomenon superbly’.

The Standard’s Nick Curtis (4★) compared it to Six and found it ‘just as quirky and surprising and almost as good.’ He decided, ‘This zesty, in-jokey, crackerjack entertainment proves they’re certainly not one-hit wonders.’

Marianka Swain for LondonTheatre (4★), calling it a ‘more ambitious but still blisteringly entertaining second collaboration’, said it was, ‘a production packed with knowing winks to the audience: fourth-wall-breaking asides, quips about the structure of the show itself, and, happily for musical theatre geeks, tons of stagey references.’

Nancy Durrant writing for The Observer (4★) called it ‘A joy’ and said, ‘The writing is pin-sharp; stuffed with pop culture references, from Tracey Emin’s bed to LinkedIn, it pulls you up repeatedly with its intelligence and wit as Nancy (Leesa Tulley, exuding warmth) and Oliver (Jo Foster, hugely charismatic, with an astonishing voice), try to work out what’s wrong with them’.

Not all the veteran critics were alienated.  The Times’ Clive Davis (4★) said, ‘there’s so much inventiveness on display  This show is a laugh-a-minute feast.’

Laura Rutkowski for the Radio Times (4★) wrote,’Yes, there are the big, outrageous musical numbers full of hilarious double entendres that make you want to just get up there and dance right alongside the cast, but it also touches upon queerness, shame, rejection, and loss in ways that feel representative and not tokenistic. Such was her enthusiasm that she declared, ‘I defy anyone not to have a massively enjoyable time at this musical. It’s uplifting, hilarious, and creative’. A few critics took up her challenge…

Arifa Akbar in The Guardian (3★) loved the score. ‘Moss and Marlow are without doubt the most talented musical songwriters out there,’ she declared. ‘What elevates the production is the score: every song is a powerhouse’. She was less keen on the story: ‘the first half about dating woes feels old hat as Bridget Jones, in spirit.‘ Taking the opposite view to The Stage’s reviewer, she found ‘The power of the drama hits in the second half as the characters become more vulnerable and intimate’.

‘Sweeter and frothier than pink prosecco, Toby Marlow and Lucy Moss’s new musical is squarely aimed at the girls, gays and theys,’ said Alice Saville in The Independent (3★). ‘Marlow and Moss are talents to be reckoned with, when they find a story that’s really worth telling.’ She concluded, ‘The first half erupts like a shaken bottle of prosecco, fizzing and flowing with astute hit after hit. And while the show flattens in the second, it’s still, quite probably, the defining musical of the dating-app age.’

Time Outs’ Andrjez Lukowski (3★) described it as ‘an endearingly quirky but preposterously self-indulgent parade of set-piece musical numbers with about three minutes of actual story in between.’ His review ended: ‘Good tunes, good cheer and good vibes from Moss’s larky, energetic direction – that makes extremely imaginative use of the ensemble – mean it all goes down quite agreeably. But ultimately Moss and Marlow’s rambling tribute to their own friendship seems unlikely to have the staying power of its predecessor: a curio, not a classic.

Gary Naylor on The Arts Desk (3★) explored the target audience: ‘Some will ache with recognition, as Oliver and Nancy dig deeper in deeper into their own psyches… Others will wonder how these two twenty-somethings can afford their lifestyles, why exactly Oliver! is their favourite musical and why they stick to amateur therapy when there are so many professionals out there.’

Dominic Maxwell in The Sunday Times (2★) offered the most damning review: ‘A bit of satire about modern dating mores gets us so far but beyond that the duo are soon staring inwards and repeating themselves. With jokes, with intelligence, with tunes. All of which would be enough for a one-act trifle, but stretches patience over a show that’s almost as long as Les Misérables.’

Variety doesn’t award stars but its reviewer David Benedict called it ‘fatally slack’, and said, ‘the target Gen-Z audience … might decide to go to a West End musical to see their lives reflected. But where “Six” long ago crossed over from the youth market to ticket-buyers of all ages, “Why Am I So Single?” riskily lacks appeal beyond its target audience.’

Critics’ Average Rating 3.6★

Value rating 40 (Value rating is the Average Critic Rating divided by the typical ticket price.)

Why Am I So Single? can be seen at the Garrick Theatre until 13 February 2025. Buy tickets direct here.

If you’ve seen Why Am I So Single? at the Garrick Theatre, please add your review and rating below

Open Air Theatre, Regents Park

The story of a Jewish family trying to reconcile tradition and the modern world and their settlement being driven out of Russia at the turn of the 20th century has become one of the most successful musicals of all time. The music by Jerry Bock and Joseph Stein and book by Sheldon Harnick appeal to all nationalities through the last sixty years. Inevitably the shadow of past productions, particularly those involving the great Topol as Tevye, hangs over any new one. The 5 and 4 star reviews by the London theatre critics were united in saying that Jordan Fein‘s open air interpretation is a triumphant reinvention that looks both forward and backward. Tom Scutt‘s set was seen as a winner in itself, silencing any jokes about Fiddler On The Roof being staged at the only large London theatre without a roof. Adam Dannheiser was widely praised for his toned down version of Tevye. Indeed, the whole cast including the actual fiddler received plaudits.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

Calling the show ‘Absolutely terrific’, Sarah Crompton at WhatsOnStage (5★) wrote, ‘The quality of Jordan Fein’s wonderful, emotional production is that it perfectly holds the balance of Fiddler on the Roof, neither tilting towards saccharine nor bitterness, towards schmaltz or politics.’ She was equally impressed by the cast: ‘At the heart of all this is the quiet underplaying and resonant voice of Dannheisser, who turns Tevye not into a Topol-style caricature but into a wry, ironic man, buffeted by events he cannot control, yet always finding it possible to assert love. He is matched by Laura Pulver’s Golde, full of emotion she doesn’t often express, but finding tenderness in gesture and stillness.’

Marianka Swain for The Telegraph (5★) called it ‘a masterclass in balancing innovation with tradition.’ She said, ‘in a stripped-back but exquisitely crafted production, Fein gets to the very soul of the work.’ She noted, ‘Fein’s staging is also beautifully attuned to the park’s natural magic. The shiver-inducing coup de théâtre is the sun actually setting during the bittersweet song Sunrise, Sunset. The bleaker second half then takes place in the dark of night.’

The Observer’s Susannah Clapp (5★) noted, ‘its painful progression can suggest any group of people struggling with internal change, under threat from authorities, bullied into movement. It’s hard to imagine a production that would do so more powerfully than Jordan Fein’s. His is also the best use of the Open Air theatre I have seen for ages.’ Among the many aspects of the production liked by Mark Lawson in The Guardian (5★) were the way ‘Fein foregrounds comedy, setting the piece in the tradition of deflective Jewish humour’, and ‘Adam Dannheisser perfectly times the one-liners … but also conveys the character’s deep faith’.

David Benedict for The Stage (5★) was impressed by ‘Fein’s arrestingly intelligent second-act directorial decisions (which) deepen and darken the action and make the show richer and stronger than any recent London revivals.’ Cindy Marcolina at Broadway World (5★) called it ‘Charming, heart-rending, and utterly gorgeous’.

Gary Naylor on TheArtsDesk (5★) handed out plaudits to the star: ‘Adam Dannheiser…brings charisma to burn to the role’; to the director: ‘maintains a breakneck pace (I cannot recall time passing so swiftly in the stalls) and uses the unique qualities of his stage beautifully’; and to everyone involved.

Tim Bano for Time Out (4★) called it ‘a production about reinventing a classic musical through small gestures and symbols, rather than radical high concepts’. He praised ‘using the sun almost like a design element. It’s all gorgeous evening sunshine for the earlier, happier parts of the story, but the haunting wedding tune ‘Sunrise, Sunset’ is designed to kick in just as the light fades, and then the bleaker second half takes place under black skies.’

Suzy Feay for The Financial Times (4★) wrote ‘Adam Dannheisser brings huge warmth but dials down the bombast as this timid man in a big man’s body’.

Neil Fisher writing for The Times (4★) was not entirely convinced by the star: ‘The paterfamilias of this story can be stoic, wry, fierce, anguished, uproarious, pious. The appealing Adam Dannheisser goes for something between all these things — not entirely convincingly.‘ But he had no doubt about the production: ‘Consider Jerry Bock, Joseph Stein and Sheldon Harnick’s masterpiece revved up rather than revamped. Underneath a mighty canopy of wheat — a dramatic set by Tom Scutt that shows us both the deep roots of this Jewish community and its fragility — Fein’s production is a fast-paced, ensemble-driven night.’ He pointed out, ‘perhaps Fein’s greatest work is to balance the joy with the pain’.

Aliya Al-Hassan at LondonTheatre (4★) said ‘(Fein) manages to bolster all the joy, humour and sense of community, then brings us back down to earth as the insidious creep of antisemitism destroys the integral fabric of this society. ‘The Standard‘s Nick Curtis (4★) called it, ‘a liberating, exuberant and humane production where the great songs – Tradition; If I Were a Rich Man; Sunrise, Sunset – touch you to the core. It also feels sadly contemporary without even trying.’ Fiona Mountford for i-news (4★) called it ‘a musical triumph’.

The Express‘s Stefan Kyriazis (4★) liked so much about the show: For starters, he loved the set: ‘I felt like I was dreaming.’ He observed, ‘The ensemble are strong, the musicians (tucked at the back of the set and costumed like villagers) wonderful and the dancers are a joy.’ As for the production: ‘Set against Tom Scutt’s magnificent stage and costume designs, director Jordan Fein beautifully treads the tightrope of respecting and celebrating the 1964 show while sensitively adding some modern nuances’. The ending, he reported, ‘is pure, powerful theatre’. His only reservation seemed to be about the star: ‘Adam Dannheisser has a rich singing voice and brings warmth and easy wit to Tevye’s innate charm. I just didn’t quite feel the sense of a weary towering figure struggling to keep himself and his family afloat.’

Jane Prinsley at The Jewish Chronicle (4★) was not alone in thinking ‘this production is Golde’s, with Olivier-award-winning Lara Pulver’s sharp and knowing performance’. She was impressed that ‘Innovations never distract from the narrative, and the play’s relevance today speaks to its enduring power.’

Critics’ Average Rating 4.4★

Value rating 66 (Value rating is the Average Critic Rating divided by the typical ticket price.)

Fiddler On The Roof can be seen at the Open Air Theatre until 28 September 2024. Click here to buy tickets direct from the Open Air Theatre

If you’ve seen Fiddler On The Roof at the Open Air Theatre, please add your review and rating below

 

Lyric Hammersmith

Fangirls is a musical by Yve Blake that originated in Australia. It concentrates on the experience of a 14 year old female fan of a boy band. It seemed those critics who best remembered what it was like to be a young fan loved it the most but all of them quite liked it. The original Australian director Paige Rattray is in charge of its UK premiere.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

‘For two hours and 30 minutes, you feel like a teenager again,’ enthused Olivia Rook for LondonTheatre (5★), praising it as ‘a celebration of young female expression’. Jessie Thompson at The Independent (5★) was another reviewer who revisited her teenage years: ‘although Blake succinctly targets the cynical capitalist exploitation of teenage girls, this celebration of vulnerability, bravery and self-acceptance will win you over for something more. Fangirls doesn’t just evoke the untamed inner life of being a teen, it reclaims it – making you wistful for when you felt things so deeply that they actually hurt.’

Charlotte Vickers at WhatsOnStage (5★) said, ‘Rattray’s direction … is impeccable, moving us between humour and the deadly serious on a knife edge’ and added, ‘All of the songs are really strong’. Katie Kirkpatrick at BroadwayWorld (5★) was a fan:  ‘Fangirls has everything that you could want from modern musical theatre: it’s a visual spectacle, full of talented performers, catchy songs, impressive dance numbers, and an exciting story. It’s the definition of a feel-good night out at the theatre.’

Holly O’Mahony for The Stage (4★) found ‘Blake delves into the intense, insecure minds of young female fans, and ultimately serves them justice.’ Calling it ‘fantastic’, Sarah Hemming in The Financial Times (4★) noted that ‘at its core is a sympathy for the disorientation and despair that can cloud teenage years, sometimes seriously.’ She was impressed by a cast ‘peppered with talent’. Isobel Lewis reviewing for the i (4★) called it ‘an impressive, bombastic production’.

Claire Allfree in the Telegraph (3★) told us not to worry about the ‘completely barmy plot’ because ‘what matters here is the punchy hip-hop routines’. She added, ‘Paige Rattray’s neon-lit production,(is) undeniably superbly executed’. The Guardian‘s Arifa Akbar (3★) concluded, ‘the musical goes from what might have been a penetrating exploration of young femininity to an absurdist comedy caper which never quite captures the quietly tortured ache of that first crush.’

The Standard‘s Nick Curtis (3★) said, ‘The dancing is dynamic, the singing largely good, the design a pulsating mix of music-video graphics and deranged close ups projected onto three curved screens. But the veil of kookiness covering a thin, derivative plot really bugged me.’ Clive Davis in The Times (3★) praised ‘the exceptional quality of the performances‘

Critics’ Average Rating 4.0★

FANGIRLS can be seen at the Lyric Hammersmith until 24 August 2024. Click here to buy tickets directly from the theatre

If you’ve seen FANGIRLS at the Lyric Hammersmith, please add your review and rating below

 

 

 

Wyndham’s Theatre

A suburban American family cope with a wife/mother with bipolar disorder in Tom Kitt and Brian Yorkey’s musical Next To Normal. It is becoming almost commonplace for new musicals to take on heavy subject matter and the critics have been complimentary to this one for the way it uses music to convey the woman’s state of mind. The British production started at the Donmar Warehouse and has now transferred to the West End. Some of the critics had more reservations than others about the musical but it was generally agreed that Caissie Levy was exceptionally good in the lead role. Michael Longhurst directs.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

Tom Wicker for Time Out (4★) said, ‘Where this show unambiguously succeeds is in its sympathetic but clear-sighted depiction of a family buckling under buried grief and an impossible present…As Kitt’s attention-grabbing score and Yorkey’s lyrics wheel through differing genres, we get an aural sense of the characters’ messy kaleidoscope of feelings.’

Sam Marlowe in The Stage (4★) called it a ‘harrowing, tough-minded musical,’ saying it ‘rips out your heart and hands it back to you, bruised but overflowing.’ The Standard‘s Nick Curtis (4★) declared it was ‘Wonderfully sung and staged’.

Olivia Rook for London Theatre (4★) said, ‘The ‘musical soars in the hands of such an accomplished and connected cast.’ Abbie Grundy reviewing for Broadway World (4★) described it as ‘a delicate yet gut-punching exploration of mental health and grief’. He said, ‘The cast is as strong vocally as they are within their acting, giving justice to the punchy score.’

Dominic Maxwell in The Times (3★) found it a paradoxical show. He described it as ‘simultaneously sophisticated and plodding‘ and said he ‘found this tale of breakdown and potential recovery went from utterly persuasive to oddly shallow.’

Other reviewers caught it at the Donmar:

Marianka Swain in an earlier review for LondonTheatre (4★) said it ‘really puts you through the wringer in its raw depiction of mental illness and family disconnection. But this courageous and deeply moving piece provides ecstasy as well as agony, light as well as darkness.’ Suzi Feay writing for the Financial Times (4★) said it ‘stirringly depicts a woman’s steeply deteriorating condition and the havoc it wreaks on her family’.

Emma John writing for The Guardian (3★) found the main character Diana was ‘compellingly portrayed by Caissie Levy’. Her main reservation was that ‘the second half still feels overlong, as songs crash into each other without any concomitant plot development’.

Average critics’ rating 3.8★
Value Rating 44 (Value rating is the Average Critic Rating divided by the typical ticket price.)

Next To Normal is at Wyndham’s Theatre until 21 September 2024. Buy tickets directly from the theatre

If you’ve seen Next To Normal at Wyndham’s Theatre, please add your review and rating below