My top ten choices for 2016

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denise-gough

I’ve had a (relatively) restrained Christmas week. Of course December 25 was a day off — in London, sick at least, stomach where the town goes dark for the entire day, remedy unlike on Broadway where on Christmas day itself this year you could have seen some 20 shows! (The full list is here on playbill.com) More shows were dark the day before on Christmas Eve than on Christmas Day, with only a handful of shows playing matinees. But many bounced back over the weekend with two show days on both Saturday and Sunday.

No wonder I’m usually in New York myself at this time of year — I can go to the theatre basically uninterrupted! (I’ve spent the last five or six Christmases at least there). But this year, thanks to my hip replacement surgery, I’m not allowed to fly for six weeks — a restriction that comes to an end later this week, but I’ve also had to allow a little extra time for further recovery, especially since I managed to dislocate my new hip, so will not be flying till the end of next week. And then I’ll be consciously avoiding the theatre anyway — we’re going to have a week in Barbados first, ahead of our postponed week in New York.

rocky-horror-showMeanwhile, though, I made good on my inability to get on a plane by getting on several trains instead. Last week I caught the opening of the new tour of The Rocky Horror Show at Brighton’s Theatre Royal (starring Liam Tamne and Diana Vickers, pictured right, and which I reviewed for The Stage here), and was surprised by how fresh-seeming a show I know so well — and has been around for 42 years — felt. I wish I knew the show’s secret to look this good — not to mention its title character Rocky’s secret to look as buff as Dominic Andersen manages to. (Answer: hard work! A visit to his Instagram account, as Gay Times did here, proves that gym plays a big part in his life!)

And on Sunday I travelled to Manchester to catch the Royal Exchange’s new production of Into the Woods, and then yesterday over to Leeds for the West Yorkshire Playhouse’s Chitty Chitty Bang Bang, ahead of its national tour. I had been due to review the openings of both of those for The Stage before my hip displacement took me out of action, so it was great to finally get to them.

Reviewing Matthew Xia’s in-the-round production of Into the Woods for The Independent, Paul Vallely observed:

Twice upon a time. Stephen Sondheim’s Into the Woods is, to borrow from football commentary, a play of two halves. But unlike Waiting for Godot – in which, famously, nothing happens, twice – the first and second parts of Sondheim’s musical are entirely different. Usually part one is far more successful dramatically than part two. It is a singular triumph of Matthew Xia’s production at the Royal Exchange in Manchester that the second half is the more compelling by far.

That’s when the entire action is transplanted to the eerie woods of Jenny Tiramani’s design in which the trees grow visibly in front of you. Those woods are populated by such familiar faces as Alex Gaumond, Gillian Bevan, Cameron Blakely, and Michael Peavoy (the latter giving us an extra treat in his Wolf disguise wearing just a jockstrap; I’m getting used to seeing this actor stripped down to his underwear, as he also made an appearance in his Y-fronts in Billy Elliot when he played Billy’s brother Tony in the West End). But it was the unfamiliar faces that also made a big impression on me, including David Moorst (Evening Standard newcomer award winner for Violence & Son, which I missed) as Jack, Natasha Cottriall as little Red Riding Hood, Franecsca Zoutewelle as Cinderella and Amy Ellen Richardson’s wonderful Baker’s wife.

gypsy-stauntonLondon’s original baker’s wife when Into the Woods first played at the Phoenix Theatre back in 1990 was Imelda Staunton, and after seeing the matinee at the Royal Exchange of this revival, we went back to our hotel in Manchester for an evening in with the incredible Staunton, who — just 25 years later! — is now a bona fide theatre superstar thanks to her blazing performance as Momma Rose in Gypsy, a filmed version of which was transmitted on BBC4 that evening. In the close-up of the high definition television screen, Staunton’s performance made Rose, yet again, alternately wrenching, desperate and disturbing. “You’ll be swell, you’ll be great, I can tell, just you wait”… we can do it, momma is going to see to it,” she tells Louise as she shifts her focus from making a star of June, who has deserted her, to her older, shyer daughter.

But really she’s channelling her own failed ambitions through her children. ” I made you…I made you!”, she screams at Louise. “And you wanna know why? You wanna know what I did it for? ‘Cause I was born too soon and started too late, that’s why. What I got in me, I could have been better than any of you! What I got in me, what I been holding down inside of me, if I ever let it go, there wouldn’t have been signs big enough. There wouldn’t have been lights bright enough.”??But if Rose has missed her moment, Staunton seizes hers to show a  jolting vision of ferocity and finally self-knowledge. What did it get me, she asks. “Scrap-books of me in the background.” But then she shrugs: “If I could have been, I would have been… and that’s showbusiness.” It’s a terrifying truth and Momma Rose has stripped herself emotionally bare, just as her daughter does physically.

But the joy of this production of Gypsy is that it is no one-woman show, either, but filled out with brilliance throughout: as Louise, Lara Pulver has to bide her time, but the slow burn pays off when she catches fire and sizzles though her own strip show.” At these prices I’m an ecdysiast!,” she declares. And a star in her own right, too!

So are the ecdysiasts of Louise Gold, Anita Louise Combe and Julie Legrand, who between them are a hilarious vanity-free zone. Legrand also doubles up as producer Granzinger’s secretary, and gives the most brilliantly deadpan performances of utter disdain.

Lara-Pulver-and-Dan-Burton-in-Gypsy?The show also offers the best Herbie and Tulsa I’ve ever seen in Peter Davison and Dan Burton. Davison’s Herbie makes his deep love for Rose palpable, but also his exasperation; he is cracking from the start. Burton’s Tulsa (pictured left with Lara Pulver) is an effortless ballectic mover, lovely singer and charming actor: a triple treat!

After the dead-on-arrival Sound of Music Live on TV the Sunday before, which I reviewed for The Stage here, this was proof of how a theatre show can be translated for TV.

Meanwhile over in Leeds — which I managed to get to despite dire reports of floods in the city centre the day before that also led to the cancellation of the train I was originally booked onto from Manchester, but fortunately there was one half an hour later— Chitty Chitty Bang Bang took flight again, in this gloriously tuneful slice of English eccentricity, complete with flying car that might have been a useful mode of transport yesterday.

There are times you wonder what sort of drugs its original creator Ian Fleming was on to concoct this weird story of xeno and child phobias, or its composer/lyricists the Sherman brothers with such demented numbers as ‘Me Ol’ Bamboo’, or ‘The Bombie Samba’ . But James Brining’s production is so wittily staged you put such doubts to one side and just enjoy the sheer sincerity, relish and gusto of the performances, brilliantly led by Jon Robyns as Caractacus Potts.

Jon-Robyns-ChittyIt’s only weird (and stupid) that Robyns (photographed right with the company) is only doing Leeds and  not rest of the UK tour that follows its run there; he’s instead being replaced by Jason Manford, then Lee Mead, on the road. Meanwhile, Stephen Matthews, Don Gallagher and Tamsin Carroll, all brilliant as the Childcatcher,  Baron and Baroness Bombhurst respectively in Leeds, will be replaced by Martin Kemp, Phill Jupitus and Michelle Collins.

I understand that star names are needed on the road to sell a tour; but you also need actors who can sell a show. Not that their replacements won’t — I saw Jason Manford in The Producers and he was excellent — but surely the biggest star of this show, from a recognition point of view, is the car anyway, so why mess around with the rest of the casting?

In London, meanwhile, I revisited a couple of shows I’d seen before: the entirely re-cast Bull (returned to the Young Vic) and the entirely unchanged Mr Foote’s Other Leg, and also caught up with Linda at the Royal Court, which had a last-minute casting change of its own when Noma Dumezweni stepped in for the originally announced Kim Cattrall just before previews began.

I’d seen Mike Bartlett’s Bull in its original 2013 premiere at Sheffield’s Crucible Studio, when Lyn Gardner’s Guardian review mysteriously dubbed it a three-hander, even though there her review makes it clear there are four actors onstage. Then it starred Sam Troughton as the bullied man trying to hold onto a job that his colleagues Adam James and Eleanor Matsura were trying to outwit him from, with Adrian Lukis as the boss; I saw it again when it transferred to London’s Young Vic in February, with Neil Stuke replacing Lukis. Now it is being played to painfully pertinent perfection by Marc Wootton as the bullied salesman and Max Bennett and Susannah Fielding as his colleagues, with Nigel Lindsay as the boss.

simon-russell-beale-mr-footeIt was also great seeing Mr Foote’s Other Leg in its home territory — the Theatre Royal Haymarket is where much of it is actually set. It’s one of the best new plays in town, with a fantastic cast led by Simon Russell Beale (pictured left), Dervla Kirwan and Joseph Millson and featuring a scene-stealing turn from the ever-irrepressible Jenny Galloway.

And I’m also glad I finally caught up with Linda at the Royal Court — in this case, it was good that I waited as Noma Dumezweni, who was originally on-book at the press night and friends reported understandable stumbles later on, now completely owns the title role, of a woman facing the crisis (and increased invisibility) of middle-age. Dumezweni, of course, is only going to become more visible in the months to come: she’s recently been announced to star as Hermione in Harry Potter and the Cursed Child. There are times when Penelope Skinner’s play becomes a little overwrought, but Dumezweni rages with an astonishing, ferocious and painful intensity that makes it a must-see.
I’ve had a (relatively) restrained Christmas week. Of course December 25 was a day off — in London, ampoule at least, where the town goes dark for the entire day, unlike on Broadway where on Christmas day itself this year you could have seen some 20 shows! (The full list is here on playbill.com) More shows were dark the day before on Christmas Eve than on Christmas Day, with only a handful of shows playing matinees. But many bounced back over the weekend with two show days on both Saturday and Sunday.

No wonder I’m usually in New York myself at this time of year — I can go to the theatre basically uninterrupted! (I’ve spent the last five or six Christmases at least there). But this year, thanks to my hip replacement surgery, I’m not allowed to fly for six weeks — a restriction that comes to an end later this week, but I’ve also had to allow a little extra time for further recovery, especially since I managed to dislocate my new hip, so will not be flying till the end of next week. And then I’ll be consciously avoiding the theatre anyway — we’re going to have a week in Barbados first, ahead of our postponed week in New York.

rocky-horror-showMeanwhile, though, I made good on my inability to get on a plane by getting on several trains instead. Last week I caught the opening of the new tour of The Rocky Horror Show at Brighton’s Theatre Royal (starring Liam Tamne and Diana Vickers, pictured right, and which I reviewed for The Stage here), and was surprised by how fresh-seeming a show I know so well — and has been around for 42 years — felt. I wish I knew the show’s secret to look this good — not to mention its title character Rocky’s secret to look as buff as Dominic Andersen manages to. (Answer: hard work! A visit to his Instagram account, as Gay Times did here, proves that gym plays a big part in his life!)

And on Sunday I travelled to Manchester to catch the Royal Exchange’s new production of Into the Woods, and then yesterday over to Leeds for the West Yorkshire Playhouse’s Chitty Chitty Bang Bang, ahead of its national tour. I had been due to review the openings of both of those for The Stage before my hip displacement took me out of action, so it was great to finally get to them.

Reviewing Matthew Xia’s in-the-round production of Into the Woods for The Independent, Paul Vallely observed:

Twice upon a time. Stephen Sondheim’s Into the Woods is, to borrow from football commentary, a play of two halves. But unlike Waiting for Godot – in which, famously, nothing happens, twice – the first and second parts of Sondheim’s musical are entirely different. Usually part one is far more successful dramatically than part two. It is a singular triumph of Matthew Xia’s production at the Royal Exchange in Manchester that the second half is the more compelling by far.

That’s when the entire action is transplanted to the eerie woods of Jenny Tiramani’s design in which the trees grow visibly in front of you. Those woods are populated by such familiar faces as Alex Gaumond, Gillian Bevan, Cameron Blakely, and Michael Peavoy (the latter giving us an extra treat in his Wolf disguise wearing just a jockstrap; I’m getting used to seeing this actor stripped down to his underwear, as he also made an appearance in his Y-fronts in Billy Elliot when he played Billy’s brother Tony in the West End). But it was the unfamiliar faces that also made a big impression on me, including David Moorst (Evening Standard newcomer award winner for Violence & Son, which I missed) as Jack, Natasha Cottriall as little Red Riding Hood, Franecsca Zoutewelle as Cinderella and Amy Ellen Richardson’s wonderful Baker’s wife.

gypsy-stauntonLondon’s original baker’s wife when Into the Woods first played at the Phoenix Theatre back in 1990 was Imelda Staunton, and after seeing the matinee at the Royal Exchange of this revival, we went back to our hotel in Manchester for an evening in with the incredible Staunton, who — just 25 years later! — is now a bona fide theatre superstar thanks to her blazing performance as Momma Rose in Gypsy, a filmed version of which was transmitted on BBC4 that evening. In the close-up of the high definition television screen, Staunton’s performance made Rose, yet again, alternately wrenching, desperate and disturbing. “You’ll be swell, you’ll be great, I can tell, just you wait”… we can do it, momma is going to see to it,” she tells Louise as she shifts her focus from making a star of June, who has deserted her, to her older, shyer daughter.

But really she’s channelling her own failed ambitions through her children. ” I made you…I made you!”, she screams at Louise. “And you wanna know why? You wanna know what I did it for? ‘Cause I was born too soon and started too late, that’s why. What I got in me, I could have been better than any of you! What I got in me, what I been holding down inside of me, if I ever let it go, there wouldn’t have been signs big enough. There wouldn’t have been lights bright enough.”??But if Rose has missed her moment, Staunton seizes hers to show a  jolting vision of ferocity and finally self-knowledge. What did it get me, she asks. “Scrap-books of me in the background.” But then she shrugs: “If I could have been, I would have been… and that’s showbusiness.” It’s a terrifying truth and Momma Rose has stripped herself emotionally bare, just as her daughter does physically.

But the joy of this production of Gypsy is that it is no one-woman show, either, but filled out with brilliance throughout: as Louise, Lara Pulver has to bide her time, but the slow burn pays off when she catches fire and sizzles though her own strip show.” At these prices I’m an ecdysiast!,” she declares. And a star in her own right, too!

So are the ecdysiasts of Louise Gold, Anita Louise Combe and Julie Legrand, who between them are a hilarious vanity-free zone. Legrand also doubles up as producer Granzinger’s secretary, and gives the most brilliantly deadpan performances of utter disdain.

Lara-Pulver-and-Dan-Burton-in-Gypsy?The show also offers the best Herbie and Tulsa I’ve ever seen in Peter Davison and Dan Burton. Davison’s Herbie makes his deep love for Rose palpable, but also his exasperation; he is cracking from the start. Burton’s Tulsa (pictured left with Lara Pulver) is an effortless ballectic mover, lovely singer and charming actor: a triple treat!

After the dead-on-arrival Sound of Music Live on TV the Sunday before, which I reviewed for The Stage here, this was proof of how a theatre show can be translated for TV.

Meanwhile over in Leeds — which I managed to get to despite dire reports of floods in the city centre the day before that also led to the cancellation of the train I was originally booked onto from Manchester, but fortunately there was one half an hour later — Chitty Chitty Bang Bang took flight again in a brand-new production at West Yorkshire Playhouse, in this gloriously tuneful slice of English eccentricity, complete with flying car that might have been a useful mode of transport yesterday.

There are times you wonder what sort of drugs its original creator Ian Fleming was on to concoct this weird story of xeno and child phobias, or its composer/lyricists the Sherman brothers with such demented numbers as ‘Me Ol’ Bamboo’, or ‘The Bombie Samba’ . But James Brining’s production is so wittily staged you put such doubts to one side and just enjoy the sheer sincerity, relish and gusto of the performances, brilliantly led by Jon Robyns as Caractacus Potts.

Jon-Robyns-ChittyIt’s only weird (and stupid) that Robyns (photographed right with the company) is only doing Leeds and  not rest of the UK tour that follows its run there; he’s instead being replaced by Jason Manford, then Lee Mead, on the road. Meanwhile, Stephen Matthews, Don Gallagher and Tamsin Carroll, all brilliant as the Childcatcher,  Baron and Baroness Bombhurst respectively in Leeds, will be replaced by Martin Kemp, Phill Jupitus and Michelle Collins.

I understand that star names are needed on the road to sell a tour; but you also need actors who can sell a show. Not that their replacements won’t — I saw Jason Manford in The Producers and he was excellent — but surely the biggest star of this show, from a recognition point of view, is the car anyway, so why mess around with the rest of the casting?

In London, meanwhile, I revisited a couple of shows I’d seen before: the entirely re-cast Bull (returned to the Young Vic) and the entirely unchanged Mr Foote’s Other Leg, and also caught up with Linda at the Royal Court, which had a last-minute casting change of its own when Noma Dumezweni stepped in for the originally announced Kim Cattrall just before previews began.

I’d seen Mike Bartlett’s Bull in its original 2013 premiere at Sheffield’s Crucible Studio, when Lyn Gardner’s Guardian review mysteriously dubbed it a three-hander, even though there her review makes it clear there are four actors onstage. Then it starred Sam Troughton as the bullied man trying to hold onto a job that his colleagues Adam James and Eleanor Matsura were trying to outwit him from, with Adrian Lukis as the boss; I saw it again when it transferred to London’s Young Vic in February, with Neil Stuke replacing Lukis. Now it is being played to painfully pertinent perfection by Marc Wootton as the bullied salesman and Max Bennett and Susannah Fielding as his colleagues, with Nigel Lindsay as the boss.

simon-russell-beale-mr-footeIt was also great seeing Mr Foote’s Other Leg in its home territory — the Theatre Royal Haymarket is where much of it is actually set. It’s one of the best new plays in town, with a fantastic cast led by Simon Russell Beale (pictured left), Dervla Kirwan and Joseph Millson and featuring a scene-stealing turn from the ever-irrepressible Jenny Galloway.

And I’m also glad I finally caught up with Linda at the Royal Court — in this case, it was good that I waited as Noma Dumezweni, who was originally on-book at the press night and friends reported understandable stumbles later on, now completely owns the title role, of a woman facing the crisis (and increased invisibility) of middle-age. Dumezweni, of course, is only going to become more visible in the months to come: she’s recently been announced to star as Hermione in Harry Potter and the Cursed Child. There are times when Penelope Skinner’s play becomes a little overwrought, but Dumezweni rages with an astonishing, ferocious and painful intensity that makes it a must-see.
Its 2016, viagra dosage so instead of my usual top ten choices of the week, here are the ten shows I’m most looking forward to this year!

grey-gardens-hancock1. Grey Gardens. I don’t have to wait long for my year’s first eagerly anticipated show — the U.K premiere of Scott Frankel, Michael Korie and Doug Wright’s 2006 musical takes place this week at Southwark Playhouse on Thursday (January 7)!

I saw the original production at off-Broadway’s Playwrights Horizons back in 2006, starring Christine Ebersole and Mary Louise Wilson a daughter and mother who were the reclusive relatives of Jacqueline Onassis that lived in squalor in an East Hampton mansion; both won Tony Awards for their efforts when the show moved to Broadway (where I saw it again).

Now I can’t wait to see Jenna Russell, one of our very best musical actors who I’ve been seeing in musicals for the last thirty years and has herself been Tony nominated when the Menier’s Sunday in the Park with George transferred to Broadway, joining veteran Sheila Hancock (pictured above), who first made a massive impression on me as London’s first Mrs Lovett when Sweeney Todd was brought to London’s Drury Lane in 1980. It’s one of a series of Broadway shows crossing the pond this year — including Disney’s Aladdin (to the Prince Edward) and Motown (to the Shaftesbury) — but this is the one I can’t wait to see again. Website:  http://southwarkplayhouse.co.uk/the-large/grey-gardens/

2. The Flick. The Royal Court previously brought London Annie Baker’s Circle Mirror Transformation to an off-site space in Haggerston in 2013 as part of their Theatre Local initiative, in a production that featured Imelda Staunton. Now the National import her 2014 Pulitzer prize winning play The Flick, still running at off-Broadway’s Barrow Street Theatre, to the Dorfman in April. Website: http://www.nationaltheatre.org.uk/shows/coming-soon-the-flick

tom-goodman-hill3. Rabbit Hole. Another Pulitzer prize winner  — this time from 2007 — David Lindsay-Abaire’s play receives its UK premiere at Hampstead Theatre,  beginning performances Jan. 29, 2016, prior to an official opening Feb. 4, with a cast that includes Penny Downie (replacing the originally announced Alison Steadman), Claire Skinner and Tom Goodman-Hill (pictured above). Website: http://www.hampsteadtheatre.com/whats-on/2016/rabbit-hole/

4. jesus-christ-superstar-open-air-longoJesus Christ Superstar. Just as Andrew Lloyd Webber’s latest musical School of Rock has premiered on Broadway last year ahead of a planned West End transfer this autumn to the London Palladium, so Jesus Christ Superstar — his early 70s rock opera written with Tim Rice — was first premiered on Broadway in 1971 ahead of its transfer to the West End in 1972. Now the show, which has one of Lloyd Webber’s very best scores, is revived at the Open Air Theatre, Regent’s Park, beginning performances July 15 prior to an official opening July 21. Prior to that, Lloyd Webber’s Sunset Boulevard is also getting another outing – this time at the London Coliseum, where Glenn Close is reprising her Tony winning 1995 Broadway performance as Norma Desmond. Website: https://openairtheatre.com/production/jesus-christ-superstar

Audra-bio-photo5 Audra McDonald. There is no talent I revere more in modern musical theatre than Audra McDonald (pictured right), who has already won a record 6 Tony Awards, more than any other actor in history (and she’s still only 45!) She’s not made a London concert appearance since she was a Diva at the Donmar back in 1999; now it looks like we’ll be seeing her twice in the same year, first in a one-off pair of concerts at the Leicester Square Theatre on January 17; and then she is being tipped to reprise her 2014 Tony winning turn as Billie Holliday in Lady Day at Emerson’s Bar and Grill in the West End during the summer, when she’s on an already scheduled hiatus from her next Broadway appearance in Shuffle Along, Or, The Making of the Musical Sensation of 1921 and All That Followed that opens at the Music Box in April.  Website for Leicester Square Theatre: http://www.leicestersquaretheatre.com/category/event-category/music

buskers-opera6. The Buskers Opera.While I revere Howard Goodall and love Andrew Lloyd Webber, and am also a keen fan of Richard Thomas, pickings are otherwise still slim for British-born composers of musicals to break out that haven’t had a pop career first (like Elton John). I’ve long been championing the work of Dougal Irvine — could The Buskers Opera, beginning performances April 28 prior to an official opening May 5 at the Park Theatre finally establish him?  Website: https://www.parktheatre.co.uk/whats-on/the-buskers-opera

denise-gough7. People, Places and Things. Duncan Macmillan’s 2015 National Theatre hit play about a woman going spectacularly off the rails and finding recovery deservedly transfers to the West End’s Wyndham’s Theatre, beginning performances March 15 prior to an official opening March 23, with Denise Gough (pictured above) reprising her performance as the damaged woman. Website: http://www.peopleplacesthingsonstage.com

8. Uncle Vanya. Robert Icke, who directed last year’s Oresteia that was for many a theatrical highlights of the year, returns to the Almeida to direct his own new version of Chekhov, beginning performances Feb. 5 prior to an official opening Feb. 12, with Paul Rhys in the title role and Jessica Brown Findlay (best known as Lady Sybil in TV’s “Downton Abbey”) as Sonia.  (Meanwhile another Downton star — Laura Carmichael, Lady Edith in the show — stars in Jamie Lloyd’s latest show at the Trafalgar Studios The Maids, with Uzo Aduba, the double Emmy Award-winning star of “Orange is the New Black”, and Zawe Ashton). Website: www.almeida.co.uk

 

cinderella-branagh-james-madden9. The Kenneth Branagh residency at the Garrick continues with two imported shows: Red Velvet (originally seen at the Tricycle, and now in the West End for the first time, with Adrian Lester reprising his Critics’ Circle Award winning performance as 19th century black American actor Ira Aldridge, beginning performances Jan. 23 prior to an official opening Feb. 1) then The Painkiller (originally seen at Belfast’s Lyric in 2011, with Branagh and Rob Brydon reunited for a comedy directed by Sean Foley, beginning performances March 5 prior to an official opening March 17. It is followed by an original production, when Branagh reunites with the stars of his 2015 film “Cinderella” Lily James and Richard Madden (pictured with him above) to direct them in the title roles of Romeo and Juliet, beginning performances May 12 prior to an official opening May 25 in a cast that also includes Derek Jacobi. Website: http://www.branaghtheatre.com/

 
jekyll-hyde10. Jekyll and Hyde. Matthew Warchus’s opening tenure at the helm of Old Vic gathers steam with Ralph Fiennes and Timothy Spall starring in Warchus’s revivals of Ibsen’s The Master Builder (beginning performances Jan. 23 priorate an official opening Feb. 3) and Pinter’s The Caretaker (beginning performances Mach 26 prior than official opening April 6) respectively. But the show I’m really looking forward to is the Old Vic debut for the McOnie Company — choreographer Drew McOnie’s own dance company — in Jekyll and Hyde, beginning performances May 2o prior to an official opening May 25 for a run through May 28 only. Website: http://www.oldvictheatre.com/