Review: Once

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After the juggernaut onslaught of The Book of Mormon, another musical has just arrived from Broadway much more unobtrusively — but is even more unmissable. It is in an entirely different emotional register, too: where the Mormons have a literally missionary zeal, Once creeps under your skin to achieve a kind of ecstasy in its quiet, insistent yearning for life’s missed opportunities, but the lessons we can learn from them.

Review: The Mousetrap

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Agatha Christie may be “the Queen of Crime” novelists, but what happens to her in the theatre has sometimes been downright criminal. For far too long her work has been consigned to the repertory dustbin, to be dusted off and wheeled out to prop up many a musty theatrical season.

Review: Miss Saigon

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Miss Saigon is full of glimpses of, and glances towards, other shows from South Pacific to Pacific Overtures, too, as well as its operatic source. But it remains a striking, occasionally strident, example of musical theatre craftsmanship. I wish it hadn’t been burdened here by over-production, but there’s no question that audiences are getting their money’s worth, and that it will be a massive hit all over again.

Review: Memphis

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The Broadway Tony winner makes a triumphant transatlantic crossing, thanks especially to the firebrand presence of Beverley Knight

Review: Matilda

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The RSC have hit the musical jackpot once again with Matilda, a show of bite, bile and some brilliance based on Roald Dahl’s popular children’s story about a young girl who is utterly neglected by her horrible parents and finds a refuge in books and storytelling.

Review: Mamma Mia!

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Mamma Mia!, here I go again! And again and again — and still I can’t resist it. I reckon I’ve now seen it at least 14 times around the world from San Francisco to Stockholm, and last Monday, I was back at the original London production as it celebrated its 10th anniversary (coinciding neatly with the 35th anniversary of Abba’s Eurovision song contest win with ‘Waterloo’ that launched their international careers).

Review: Made in Dagenham

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British musicals have been in the doldrums for a while now — as well as I Can’t Sing!, there was also the early closures of Andrew Lloyd Webber’s Stephen Ward and Tim Rice’s From Here to Eternity. At last we have an original new show worth celebrating.