Above: Imogen Poots as Abby and James Norton as Zack, a pair of childless, newlywed millennials. Hamilton was both a genius and a wrecking ball – losing his son and his own life to the ghastly habit of duelling. Three couples and two single women have been gathered together at the English country home of an eccentric old man. Su Mondadori Store, con la tua carta PAYBACK ti premi ad ogni acquisto. But on the bright side, Rachel Kavanaugh’s production is fully theatrical. It’s an evening of snowflakes, music and superbly sinister London sets by Stephen Brimson Lewis. The second half is bleaker. Dear Brutus is a strange, magical play, brimful of unsettling ideas. As the opening lyric goes: ‘How does a bastard, orphan and son of a whore… impoverished in squalor, grow up to be a hero and a scholar?’.

Zack’s got a job with a medical charity, smokes a lot of weed and consequently seems a bit thick; Abby is very clever, teaches yoga and takes Valium.

From the opening beat, you can instantly feel the heat of this show’s originality. Friendly warning! attività di direzione e coordinamento da parte di Arnoldo Find out here about cheap, last-minute and alternative ways to get ‘Hamilton’ tickets. It’s a visual treat, with the stage arch in the shape of a TV screen and all costumes rendered in shades of grey and black to recreate the days of monochrome. Thomas Kail’s restaged Broadway production is confident but not flashy: a series of taut, almost tableaux-like scenes with a crisp, minimal set and choreography that allows the music, words and the striking figures of the cast – largely BAME actors in period dress – to take centre-stage. Published: 17:01 EDT, 23 December 2017 | Updated: 17:01 EDT, 23 December 2017, Victoria Palace Theatre, London                                              Until June 30. As the minutes tick away in Amy Herzog’s interval-less one-acter, you can feel something is wrong. It has a pulsating vibe, a biting wit and, crucially, the music stands alone. Mondadori Editore S.p.A. | Capitale Sociale: Euro 2.000.000 i.v. online Società con unico azionista soggetta ad Benvenuto We arguably don’t.

A mystical moonlit wood that appears on only one night of the year can show them what they have missed out on in life. Above: Total newcomer and leader of the play's multi-racial cast, Jamael Westman (centre) plays Alexander Hamilton.

Southwark Playhouse, London                                                                    Until Sat.

Andrzej Lukowski, Posted: The set is a box of starry, inky skies, lending an air of the otherworldly.

The theatre asked reviewers not to reveal the ending. It’s all about Daisy, the first scholarship girl at Grangewood School who has to overcome snobbery and prejudice to win the hockey championship and find the treasure that will save the school from closing. For a start, he’s confiscated her phone so she can’t ring her dad in America. The founding fathers rap; by contrast, when George III (hilariously played by Michael Jibson in full ermine) comes on, he warbles away in fogey Beatles mode.

There’s a touch of Mozart-Salieri to their relationship. These married, childless millennials are clearly hopeless, obsessed with themselves and satirically sketched in a way that’s perhaps slightly baffling to a British audience. You probably already know that it’s a hip hop musical, something that’s been tried before with limited success. The ghouls below Scrooge’s levitating four- poster are a genuine frightmare and Marley’s chain-strewn ghost has a hand stuck right through him. But there was a lot of hype around penicillin. Déjà vu! Above: Giles Taylor as Marley in this much-tweaked version of Charles Dickens' Christmas classic. There are comedic partner-swapping episodes and reversal-of-fortune transformations but at the heart of the play is an eerie encounter between the washed-up artist Will Dearth (Miles Richardson) and the ‘might- have-been’ daughter he never had – an unearthly child, a Lost Girl (Venice van Someren).

We are no longer accepting comments on this article. But it’s properly funny too. There is perhaps a debt here to Hitchcock’s film Suspicion, in which Cary Grant plays an adoring young hubby who’s possibly a psychopath. Miranda and Kail know exactly what buttons to press and when.

fisc. Or her sister who is having a baby. Lin-Manuel Miranda’s visionary musical lives up to the hype. Plus, in an age when some berks still write in angrily if a black person gets a minor role in a BBC costume drama, it is of tremendous significance that a group of relatively unknown BAME actors are in a period show that is, by a really very long way, the best and cleverest thing on the London stage. The multi-racial cast is led by total newcomer Jamael Westman, a triumph as the tall, unsmiling, Aspergic Hamilton.

This review is from 2017. Royal Shakespeare Theatre, Stratford-upon-Avon                   Until Feb 4. And then Obioma Ugoala’s booming George Washington adds another shade entirely – a rumbling, soulful giant who rises over Hamilton and his incessant squabbling. We're working hard to be accurate. Hamilton marries Eliza (Rachelle Ann Go) and cheats on her; and he flirts with his sister- in-law Angelica (Rachel John). Tuesday October 15 2019. By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. Pitched against him is silky smooth Giles Terera as Hamilton’s mentor and nemesis Aaron Burr, a smart, inscrutable career politician increasingly dismayed by the success of Hamilton’s unconventional methods. It is a dream- like midsummer story that also makes an excellent winter’s tale. We already have this email. Elsewhere Jason Pennycooke is absolutely glorious in the dual role of frenzied Frenchman Marquis de Lafayette and preening, Prince-alike Thomas Jefferson. Does it feel quite so important in London? Part of the Daily Mail, The Mail on Sunday & Metro Media Group, Stratford-upon-Avon                   Until Feb 4. The chiselled looks, the thin smile, the vacant eyes… He’s perfect for this psychological thriller, playing opposite glamorous rising star Imogen Poots as a pair of young newlyweds. Emilie Louise Israel as Peggy Schuyler/ Maria Reynolds, Trevor Dion Nicholas as George Washington, as Eliza Hamilton, Emile Ruddock as Hercules Mulligan/James Madison, Carl Spencer as John Laurens/Philip Hamilton and, https://ticketing.timeout.com/london-theatre/musicals/hamilton. It’s got a relentlessly catchy build and momentum, a crackling, edge-of-seat sense of drama, and is absolutely chockablock with information, as the key players stride on to bring us up to speed with the eventful life that Hamilton – the ‘bastard, orphan, son of a whore and a Scotsman’ – led before he emigrated to America in 1772 as a teenager. The final 20 minutes offer stirring hockey action and a clifftop rescue but the rest of Paulette Randall’s production is sluggish. The introduction of the Schuyler sisters – Hamilton’s future wife Eliza (Rachelle Ann Go) and his soulmate Angelica (Rachel John) – lobs a bit of sparky, ’90s-style R&B into the mix, and cedes the bloke-tastic narrative to its female characters (briefly).

But we’re a nation hooked on American stories. The show certainly doesn’t shy away from the fact that historical figures rapping is fundamentally amusing.

Miranda and Kail know exactly what buttons to press and when. We get the kinetic, virtuosic, info-heavy numbers. The interludes in which our very own George III (Michael Jibson) pops up to pass sneering comment are hilarious, and come with an infernally catchy song, the lovely, Beatlesy ballad ‘You’ll Be Back’. REA Milano: 1428290 Tutti i dettagli su chi siamo.

as Marquis de Lafayette/Thomas Jefferson. The comments below have not been moderated. Intimate performance space and atmospheric sound design help underline Barrie’s themes of missed opportunities and time wasted (Above: Robin Hooper).

In truth, there’s rather too much pace-dragging scenery-shifting by beings in boiler suits and goggles but this tribute to the power of imagination is quirky enough to transport you as swiftly as possible from The Christmas Zone. J M Barrie’s supernatural fantasy, Dear Brutus, a huge hit in 1917 but staged only infrequently since, is rich in Shakespearean allusion.

Inevitably it still feels like an American story.

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