Tag Archives: Stephen Sondheim

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“The Frogs” at the Southwark Playhouse

Fans of Stephen Sondheim – and I’m one – are lucky right now. His last work, Here We Are, is playing at the National Theatre while this show has been revived in spirited style by director Georgie Rankcom. There’s fun to be had with comparisons or, to be frank, shared problems. But this is another part of the canon it is wonderful to get the chance to see. And fan or not, The Frogs is smart, fun and well-executed.

Like all Sondheim’s work, The Frogs is inspired by… a lot. There’s the play by Aristophanes, adapted “freely” by Burt Shevelove, then “even more freely” by Nathan Lane, and at each stage given Sondheim’s spin. And it’s a show with a long, somewhat convoluted genesis. Rather brilliantly, as it involves a journey on the River Styx, it starts in a swimming pool!

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Dan Buckley and Kevin McHale

A lot depends on the leads Dionysos and his slave Xanthias, who journey to Hades to save the world through art. The plan, to bring George Bernard Shaw back to Earth, is suitably kooky. Dan Buckley and Kevin McHale, who take the parts, are up to the job, sounding great and making an excellent comedy duo. The metatheatricality and the message in the show are generally overdone, but with these two the touch is, thankfully, light.

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Martha Pothen as George Bernard Shaw

Their adventures are accompanied by a talented ensemble who also double as extra characters. Joaquin Pedro Valdes stands out as Herakles and Martha Pothen as Shaw. The structure is simple enough, but the pace slows too often. Thankfully, the music is a delight. From the jolly refrain ‘I Love To Travel’, to a melancholic number, ‘It’s Only A Play’, the songs are Sondheim quality, and you can’t give higher praise than that.

Still, given Sondheim’s back catalogue, there’s some disappointment. The Frogs feels heavy-handed. Even the lyrics, although always smart, are a little blunt. And a final contest (apparently agon is the term) between Shaw and Shakespeare is far too lengthy. The point is interesting enough: do we need Shavian “great abstractions” or the bard’s poetry? Pothen and Bart Lambert (as Will) do well. But the outcome is predictable (who really wants an “orgy of Georgie”?) and preachy.

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Victoria Scone stars as Pluto

There is a strong sense of musical revue about the show (it started out at Yale) that suits the venue and that Rankcom cleverly leans into. Dance numbers, difficult in such a small space, showcase choreographer Matt Nicholson’s talents and add energy – the “web-footed debauchery” of the titular amphibians is a hoot. And having a special guest as Pluto is a great idea (until 31 May it’s Victoria Scone and very good she is, too).

The variety of the score and the broad humour are all embraced, with lots of good gags based around Greek myths (apparently Viagra is the god of perseverance). It’s on a wider level, with Sondheim reviewing the state of the world, that problems arise. A touch of the classroom carries the potential to defeat the argument and instruction that we should all get angry and act. Maybe it’s more generous to say that the show’s sense of urgency overwhelms it? At least there is fun as well as conviction here.

Until 28 June 2025

www.southwarkplayhouse.co.uk

Photos by Pamela Raith

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“Here We Are” at the National Theatre

It’s hard to imagine that there was a time when Stephen Sondheim’s work wasn’t revered. Not all his shows were hits the first time around and many divided opinion and generated parody. This last effort from the legend, who died in 2021, presented on the South Bank via New York’s The Shed, is such a mixed affair that it’s unlikely anyone will claim it as a Sondheim highlight. 

Sondheim used more sources to make musicals than most and this time, with David Ives’ book, he looks at Surrealist cineaste Luis Buñuel. We get not one but two films brought to the stage. It must be stressed that, unlike many a movie adaptation, Sondheim and Ives put their own stamp on the works. These are interpretations, updated and with the stage in mind. For once, the word ‘inspiration’ is apt.

Yet, while there are more than enough crazy moments, there isn’t the political power that’s found in Buñuel. Maybe this is down to the times? Our view of class has changed so much. Or is it Surrealism itself that’s the problem? You might suggest Surrealists tend to take self-referentiality seriously (there’s a topic for discussion). But musicals are whacky from the get-go.

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Tracie Bennett

It helps an awful lot to know what’s being referenced before going in. Of course, Sondheim fans are a clever bunch and their knowledge of European cinema extensive. But just in case you need reminding, the first act is based on 1972’s Le charme discret de la bourgeoisie, with a wealthy group trying to find a place to eat. Here the idea is a solid satire that’s laugh-out-loud funny, with great skits from various waiters (including Tracie Bennett, who is excellent). But updating the characters isn’t a happy affair. Instead of France, we are in LA. And, more than the bourgeoise, we have Ultra High Net Worth individuals who don’t quite convince, despite Rory Kinnear’s commendable efforts. A younger character, admirably performed by Chumisa Dornford-May, is written as some kind of revolutionary but is notably more soixante-huit than contemporary.

The second act disappoints further, not least because there is so little music in it. It’s a version of El ángel exterminador (the one with the characters mysteriously trapped in a room). Why they can’t leave and then eventually do is never explained but you’re going to have to live with that. The wit and intelligence are still clear (a dialogue about ontology and shoes is funny), but the references become oppressive. 

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Jesse Tyler Ferguson and Martha Plimpton

The potential legacy of the piece also weighs heavy. Yes, this material would be difficult for any cast. But director Joe Mantello fails to keep up a pace or embrace crazier moments so that (ape costumes aside) there are few surprises. While Richard Fleeshman and Paulo Szot manage to shine in simpler roles (as an unnamed soldier and a diplomat), the other characters are surely supposed to be more three-dimensional? Jesse Tyler Ferguson, Jane Krakowski and Martha Plimpton (all big talents) seem trapped in how we imagine performers in a Sondheim show should act. Metatheatricality or just a mistake? It proves tiresome and shortchanges the show. 

Until 28 June 2025

www.nationaltheatre.org.uk

Photos by MARC BRENNER

2023

“Pacific Overtures” at the Menier Chocolate Factory

Two white Americans telling a story from an Asian perspective might ring alarm bells for some nowadays. Investigating Western Imperialism, with the arrival of a military presence to an isolated Japan in 1853, is tricky. But, surely, the first point in favour of this revival of Stephen Sondheim and John Weidman’s musical is that you’re going to have to think. The work is as challenging as it was when it débuted in 1976, maybe more so.

It turns out that in skilful hands the project works… for the most part. The casting is sensitive. Indeed, this is a co-production with the Umeda Arts Theatre in Japan. There are clichés about the country and the history is whistle-stop, but it should be noted that the show has been updated, with additional material by Hugh Wheeler. Attempts at humour are limited (and excellent, by the way, ‘Please Hello’ is an erudite highlight). Two numbers that deal with sex – both showing violence toward women – make a powerful, disturbing pairing. Nonetheless, it all feels slim.

Director Matthew White’s brilliant staging is a triumph of minimalism, and the show looks amazing. Paul Farnsworth’s set, Ayako Maeda’s costumes and Paul Pyant’s lighting are all gorgeous. And there’s Ashley Nottingham’s choreography, with You-Ri Yamanaka credited as a cultural consultant – the way the cast moves is fascinating, and every action in the show is carefully curated. Could all this almost be a problem? Could the aesthetics be fetishistic: the idea of Japan (that Empire of Signs) can be intoxicating. Maybe you’d counter by saying the idea is potent for nations all over the world. White is certainly overt about the idea of presenting the past like a museum display.

It isn’t fair to say Sondheim, Weidman or White paint broad strokes when they are also precise. But a lot of ground is covered very quickly (the show is short). A saving grace comes with something surprisingly old-fashioned – the characters. A trio focus drama and emotion. There’s Kayama, a samurai given the thankless task of dealing with the unwelcome Americans, and his wife, Tamate, who have a brief but beautiful romantic number and tragic story. Takuro Ohno and Kanako Nakano give exquisite performances in the roles. Afterwards, Kayama’s friendship with Manjiro, a strong role for rising star Joaquin Pedro Valdes, reflects responses to cultural change in an easy manner. And John Chew also deserves praise as the narrator who anchors the show – although his role’s transformation into Emperor Meiji is the book’s poorest move.

Unusually for a Sondheim piece, consideration of his music and lyrics is delayed – there is so much else to bear in mind. There are brilliant songs in Pacific Overtures, the lyrics are a model of efficiency as smart as you’d expect. The score was innovative in 1976 and stands out just as much now. The show is a must for fans – it doesn’t come around that often – and this is as fine a production as I can imagine. Still, for most, the evening is probably more interesting than enjoyable, its brevity being a problem that makes it an overture rather than a complete work.

Until 24 February 2024

www.menierchocolatefactory.com

Photos by Manuel Harlan

2022

“Anyone Can Whistle” at the Southwark Playhouse

Not even Stephen Sondheim got it right every time. This 1964 musical has the feel of being penned by a tyro, albeit one who is a genius. While responding to a spirit of counter-culture this revival, directed by Georgie Rankcom, adds confusion.

It’s sacrilegious to criticise Sondheim (and rightly so). Thankfully many faults can be allocated to Arthur Laurents’ book. After all, there are lots of good songs here you will probably recognise.

Anyone Can Whistle has a “rundown town” that manufactures a religious miracle for financial gain. But surprisingly little is done with this idea. At the same time, inmates from a mental asylum called, ahem, the Cookie Jar, run amuck. Surprise! It’s hard to tell who is really insane. There’s an odd lack of satire as the show aims to be a parable and ends up simplistic and tiresome.

The production doesn’t iron out the show’s problems (which would be tough). Attempts at audience participation are ham-fisted and the humour poorly delivered (too many jokes are rushed). There’s no sense of place or time and, with accents all over the place, it seems safe to say that’s deliberate. But the piece is stuck in its period, preoccupied with adolescent rebellion, vague protest and forms of therapy.

Rankcom does a good job working with the traverse stage and Lisa Stevens’ choreography is admirably energetic. But the performances are too broad and there are problems with hearing lines clearly enough. What fun Sondheim’s lyrics possess is often lost.

Alex Young, as the town’s mayor, is a notable exception to all the production’s problems. Like her character, Young is a woman who can handle a crowd, and she adds laughs as well as silliness, which helps in a piece that takes itself surprisingly seriously.

Chrystine Symone

Other performances need more nuance – how much this could be injected despite the script is open to debate. Our hero and heroine, J Bowden Hapgood and Nurse Fay Apple, performed with determination by Jordan Broatch and Chrystine Symone, are flat and their romance unconvincing. Is the somewhat flippant view of mental illness that comes with the show’s simplicity the problem? Even if it doesn’t make you uncomfortable, it has repercussions for their love affair that Broatch and Symone’s undoubtable charm cannot save. This too-brief encounter comes across as odd. We only learn catchphrases for characters.

The societal critiques in Anyone Can Whistle and the topic of mental health have an appeal. Rankcom and his cast respond with genuine enthusiasm to challenging the mainstream. It’s nice so see this inspiration. But, as the work itself is immature, the production becomes tarnished with the same quality. Enthusing an audience about such a hotchpotch of ideas, while not exactly needing a miracle, turns out to be a leap of faith too far.

Until 7 May 2022

www.southwarkplayhouse.co.uk

Photos by Danny With A Camera

2018

“Company” at the Gielgud Theatre

Marianne Elliott’s new production of Stephen Sondheim’s musical gained great press when it was announced that the gender of the lead would be swapped. Bobby, the still-single thirty-something, pressured and puzzled by commitment, becomes Bobbie. The change adds an urgency to debates about marriage that the show explores, adding the pressure some women feel to have children. But the joyous surprise is how remarkably easy the alteration feels. If you didn’t know the piece you wouldn’t guess at any fuss. A frequent argument in theatre is resolved conclusively. And that’s just the start of this show’s many virtues.

Rosalie Craig, Alex Gaumond and Jonathan Bailey
Rosalie Craig, Alex Gaumond and Jonathan Bailey

Rosalie Craig is in the spotlight and she is brilliant. Even though she’s barely off the stage, and everyone is talking about her character, Bobbie has to take a back seat as her friends’ marriages are examined through fantastic songs. Craig achieves this with, well, grace – I can’t think of a better word. Throughout the show, and even when it comes to her big numbers, Craig brings a coolness to the role that ensures her character’s questioning is communicated. Frequently looking to the audience, exclaiming ‘Wow’ more than once, she shares the oddities she sees with us. It’s a perfect reflection of Sondheim exploring friendship and love with complexity and openness.

Patti LuPone in Company
Patti LuPone

 It’s another achievement on Elliott’s part that a star as big as LuPone fits the show so well. There’s a Broadway feel to the production that’s appropriate to the story’s location, but which surely has an eye on a transfer – it deserves one. If there’s a tiny cavil, the pace occasionally feels driven by a desire to display value for money – even if every minute is enjoyable, a couple ofscenes are drawn out. But Company is as close to flawless as anyone should care about. Bunny Christie’s design is stunning– this is a set that actually gets laughs. Rooms, outlined in neon, connect characters in the manner of a farce, while playing with scale gets more giggles. Elliott employs an Alice InWonderland motif that is no laughing matter.

With the couples watched, there isn’t a poor performance. Mel Geidroyc and Gavin Spokes are great fun as the squabbling Sarah and Harry – will karate help their relationship? While Jonathan Bailey gives a show-stopping turn as Jamie, in a panic on his wedding day. Previously Amy, his relationship with Paul (played by Alex Gaumond) is a delicious modernisation. But the biggest casting coup? The legendary Patti LuPone takes the part of the acerbic Joanne and is simply unmissable. Every line from LuPone lands. Every gesture captures the audience. And her rendition of TheLadies Who Lunch is revelatory – to make a song like that your own takes real class.

 It’s another achievement on Elliott’spart that a star as big as LuPone fits the show so well. There’s a Broadway feel to the production that’s appropriate to the story’s location, but which surely has an eye on a transfer – it deserves one. If there’s a tiny cavil, the pace occasionally feels driven by a desire to display value for money – even if every minute is enjoyable, a couple ofscenes are drawn out. But Company is as close to flawless as anyone should care about. Bunny Christie’s design is stunning– this is a set that actually gets laughs. Rooms, outlined in neon, connect characters in the manner of a farce, while playing with scale gets more giggles. Elliott employs an Alice InWonderland motif that is no laughing matter.

It isn’t just Bobbie’s gender that has changed – she is now a Millennial. There’s no crude casting as a snowflake, but one wonders if she might be infantilised? There are party games at her 35th birthday, after all. Elliott makes a point about life – now – that is subtle and topical. Credit to Sondheim’s piece, of course, so full of themes ripe for development. But it is the production that makes it hard to believe the piece is nearly 50 years old – Bobbie and her crowd always feel contemporary. For all the joys of the show, it is seeing a director use a piece with such skill and invention that makes this Elliott’s triumph.

Until 30 March 2019

www.companymusical.co.uk

Photos by Brinkhoff Mogenburg

2018

“Into the Woods” at the Cockpit Theatre

Stephen Sondheim’s grown-up musical about fairy tales is an undisputed modern classic. Any chance to see this marvellous piece, with its super smart book from James Lapine, crammed with Sondheim’s wit and wisdom, as well as some of his best music, is worth a punt.

Tim McArthur’s version of the show has “updated” touches that rethink the story-book characters with an eye on reality television. So the wicked step-sisters could be on The Only Way is Essex– fair enough, given that the show’s premise mixes and matches stories so blissfully. But the idea adds less than presumably intended, since the sensibility of the piece already suggests modernity. And some of the performers seem trapped by the idea of contemporary characterisations and need to relax; especially Jack and his mother (Jamie O’Donnell and Madeleine MacMahon), said to come from the Jeremy Kyle show. But beneath this veneer lies strong direction: McArthur knows what he is doing, showing a clear understanding of every scene, indeed each line, making the show swift and coherent, as well as suiting this in-the-round venue. When the whole cast comes together, the production is impressive.

There are some uneven individual performances, with less than first-class voices unaided by problems with the sound system. But there are good turns from Abigail Carter-Simpson as Cinderella and Louise Olley as Rapunzel. Director McArthur takes the role he identifies as central – that of the Baker. His performance is surprisingly flat, his stage wife, played by Jo Wickham, more enjoyable. The production is not as funny as you would expect – and I’ve a suspicion this is deliberate. When it comes to the loss of loved ones and fears for the future, McArthur comes into his own (alongside Michele Moran as the Witch). It is the sombre elements of the fairy tales that become the focus in this sensitive production. It makes the show less magical than it should be, but a trip into these woods is still well worth it.

Until 24 June 2018

www.thecockpit.org.uk

Photo by David Ovenden

2017

“Follies” at the National Theatre

This lavish production of Stephen Sondheim’s 1971 musical is a triumph for director Dominic Cooke. This is a piece that divides opinion. While its songs have gained fame, the rambling story of past lives, set around a reunion of former Broadway performers, has too slender a book by James Goldman. But in Cooke’s hands this feast of melancholic nostalgia is coherent and compelling. With no small help from the Olivier’s revolve, a static story is made to at least feel dynamic. The tone is serious, suitably so, with any camp fiercely controlled. The cast is huge, the orchestra lush and Vicki Mortimer’s design will surely garner her an award for the costumes alone. The ‘ghosts’ of lives past appear with a gorgeous array of headgear, while the late 1960s costumes of those meeting one last time before a theatre is demolished are just as meticulous and impressive.

Imelda Staunton as playing Sally and Janie Dee as Phyllis

Follies provides the irony of performers at the top of their game pretending that their careers are over. Imelda Staunton continues her reign as Queen of Musicals by playing Sally and is matched by Janie Dee as Phyllis. The women performed and dated together but have ended up in sad marriages with the wrong men. Sharing their unhappiness are the husbands, Ben and Buddy, brilliantly performed by Philip Quast and Peter Forbes respectively. The women have the stronger numbers. Staunton delivers the hit Losing My Mind impeccably and her hysterical devotion to the man who got away manages against all odds to be convincing. Dee is the wicked witch of the piece, getting the laughs and showing the emptiness of her character’s successful life with pathos. But of all the mid-to-late-life crisis on offer here (and there’s plenty of it) Phyllis is the only one that entertains. There’s young talent in the show, too: Adam Rhys-Charles and Fred Haig both do well as the immature versions of the men but, while Zizi Strallen and Alex Young ably perform their roles as the younger women, the parts themselves are frustratingly thinly written.

Zizi Strallen as Young Phyllis, Alex Young as Young Sally, Fred Haig as Young Buddy and Adam Rhys-Charles as Young Ben

Given its size, Follies is a major investment to stage – a concert production was my only experience so expectations were high. To say this isn’t Sondheim’s best work still makes it head and shoulders above most musicals. But some of the lyrics are strangely flat and a couple of numbers, which take us back the early days of Broadway, of primarily academic interest. It’s the book that causes most problems – much of the show is a series of introductions – that fail to excite – about characters not met again. It’s a poor build up to a prolonged conclusion – the central quartet’s individual “follies” numbers that feel like ground already trodden. The stakes simply aren’t high enough to truly engage and the characters’ angst start to look like whinging. Musicals can cover serious topics – nobody proves that better than Sondheim – but here we just have a collection of personal crises that ends up dispiriting.

Until 3 January 2018

www.nationaltheatre.org.uk

Photos by Johan Persson

2016

“Into The Woods” at the Menier Chocolate Factory

Derek McLane’s set, surrounding the Fiasco Theatre Company as it performs its hit transfer from the States, is a sculptural presence that takes us inside a piano. Discarded keyboards frame the stage and the strings are ropes, suggesting the trees among which James Lapine cleverly mixes and matches fairy tales to Stephen Sondheim’s brilliant music.

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Claire Karpen as Cinderella with Noah Brody and Andy Grotelueschen as the Stepsisters

Visually and aurally, this is a stripped-back show. A single piano, with an impressive array of percussion and a smattering of other instruments, is performed by the cast, and led by pianist Evan Rees. Sacrifices are inevitable, incidentally discordant notes at the entrée of Act Two are unnecessary, but the singing is all you could wish for, especially with Claire Karpen and Vanessa Reseland as Cinderella and The Witch. There’s some lovely doubling of roles as well. Having the princes perform as the wicked stepsisters is worth sacrificing two sopranos; Noah Brody and Andy Grotelueschen are marvellous, also taking the roles of the wolf and the cow in their stride.

Vanessa Reseland as The Witch
Vanessa Reseland as The Witch

It all seems a casual and convivial affair. The troupe wear home-spun costumes (crochet is always comforting), the props are minimal and the emphasis on invention is, well, jolly. There’s a conversational tone injected by directors Brody and Ben Steinfeld, constructed by having the cast share the role of narrator, while nodding at audience participation and our shared knowledge of the stories. Brilliantly done, but the payoff is to come.

It’s the ‘ever after’ that’s the best bit, when the wishes made have come true but life remains just as complicated. The baker and his wife come into focus – with terrific performances from Steinfeld and Jessie Austrian. This couple are the key and the most relatable characters in the show, even if they do live next to a witch. Fiasco has prepared the ground cleverly; all that complicity and transparency links their stories to our own lives. In showing how you make the make believe, going into these woods feels like a real journey we must all undertake.

Until 17 September 2016

www.menierchocolatefactory.com

Photos by Catheine Ashmore

2016

“Road Show” at the Union Theatre

The construction of luxury flats on Union Street is a topical tag for Phil Willmott’s production of this Sondheim and Weidman musical. Following the fortune-seeking Meisner brothers, the focus is their later careers as Florida property developers, and the American Dream is examined through the land boom building of Boca Raton. It’s an odd subject matter and a strangely clinical piece.

There’s a good deal of brothers Addison and Wilson’s journey that’s entertaining and insightful: from the gold rush to gambling, with the familiar Sondheim theme of the arts and patronage. The songs and the lyrics are strong but this is sub-standard Sondheim – still good, of course, but much time is spent wondering why it isn’t better.

On his deathbed, the brothers’ father wonders what type of nation his boys will help to create, but this weighty central question feels forced. Too quickly afterwards there’s a deal of rushed campery as the hapless siblings struggle away. Road Show is notable for its explicit gay relationship between Addison and a poor little rich kid called Hollis. It’s the only time we’re allowed a glimpse of sentiment. Call me soppy, but this seems a bit mean.

There’s not much Willmott can do with these problems. However, while miming sequences in the show are a neat move, they could have been better (and should surely have been suspended for a scene in which one brother draws a knife on the other). Willmott is too keen to use his large cast, but having them double up to fill the stage proves distracting. And yet the director has secured a number of strong performances.

In the lead roles Howard Jenkins and Andre Refig perform well and sound great. The latter, as Wilson, convinces as a rogue, fool and thriller but his acting might be better suited to a larger venue. Jenkins’ appropriate restraint is preferable. The brothers’ mother has a great number that Cathryn Sherman makes the most of, and Joshua LeClair is a fine Hollis.

Another big problem is the show’s lack of humour. The laughs are set up but seldom land. Sometimes it’s a question of delivery but more often it’s the piece’s downbeat tone. Both brothers feel like devices to show societal ills, Wilson a con artist, and architect Addison denied his chance to be more a than master builder. The central relationship between them is poorly constructed, their closeness clumsily established and not fully explored until the conclusion. It’s simply not motivating enough, making this a show you can’t roll with, merrily or otherwise.

Until 5 March 2016

www.uniontheatre.biz

2015

“Gypsy” at the Savoy Theatre

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Believe the hype. Jonathan Kent’s triumphant revival of Gypsy, coming from the Chichester Festival Theatre, deserves every one of the many stars critics have lavished upon it. And, as for stars, Imelda Staunton’s much lauded performance in the lead really is a triumph, attracting every superlative imaginable.

Of course, it helps that the musical itself is wonderful. Jule Styne’s score has hits and a satisfying coherence that builds power in a symphonic fashion. Arthur Laurents’ book is perfection: powerful family relationships and fundamental emotions elaborated through the story of a pushy showbiz mother, touring America’s dying Vaudeville circuit, and the bitter success of her daughter becoming the burlesque queen Gypsy Rose Lee. Stephen Sondheim’s lyrics are justly legendary, from ‘Have an Egg Roll Mr Goldstone’ to the phenomenal ‘Everything’s Coming Up Roses’.

This production of Gypsy has the highest standards. It feels like a bit of Broadway in the West End. Kent’s handling is loving – he knows he’s crafting a gem and creates a tremendous energy. The show sounds gloriously brassy, which is just right, while the detailed, mobile sets from Anthony Ward embody a ‘Hi, ho the glamorous life’ of travelling performers. There are strong performances from Gemma Sutton and Lara Pulver as Momma Rose’s long-suffering daughters, especially Pulver and she blossoms into the striptease sensation that is Gypsy.

Against this flawless backdrop, Staunton excels as Momma Rose. Surely there can be few roles more daunting – remember, the critic Frank Rich described the part as musical theatre’s unlikely answer to King Lear. And think of what big shoes there are to fill. Staunton’s comedy skills are the best around and, in Gypsy, her acting shines. When Staunton wants a laugh – she got it. But Momma Rose is grown with subtlety, her fragility well established before her final breakdown. This makes the famous scene of ‘Rose’s Turn’ startlingly brave and painfully real.

Curtain up until 28 November 2015

www.thesavoytheatre.com

Photo by Johan Persson