Cable Street | Review
As the new musical by Tim Gilvin and Alex Kanefsky returns to Southwark Playhouse, this time to its Elephant venue, we share our original review from February this year, in which Aliya Al-Hassan...
Features
Rising Star | Jo Foster
Currently starring in Marlow and Moss’s Why Am I So Single?, Jo Foster is treading new ground as a non-binary performer
Behind the Song: Frank Loesser’s ‘Adelaide’s Lament’ from Guys and Dolls
The singer, pianist and songwriter Joe Stilgoe describes why lyrics about catching a permanent cold create what is often the most-talked about track in a classic Musical Theatre show
Recording 'Guys and Dolls'
Recording can be a precise, painstaking process and, as Edward Seckerson discovers at a temporarily refashioned Bridge Theatre, laying down the London cast album of Guys & Dolls is no exception
Mamma Mia! at 25
With 2024 marking Mamma Mia!’s 25th year on the West End stage – and, by way of celebration, welcoming TV winners Stevie Doc and Tobias Turley as Sophie and Sky – Ruth Deller speaks to the new cast...
Lea Salonga Interview: 'I get to have a direct relationship with the audience, to tell my stories'
From child prodigy to Miss Saigon at 18, and now with a remarkable career to her name – including a recent appearance in the Sondheim tribute Old Friends – Lea Salonga is the real deal. As she...
Backstage with... Jak Malone
Jak Malone originated the role of MI5 secretary Hester Leggatt (and other characters) in SpitLip’s Operation Mincemeat at the Fortune Theatre in the West End
Rising Star | Dujonna Gift
Starring in Two Strangers (Carry a Cake Across New York) in the West End, this young performer refuses to be pigeonholed
Keeping Score: A Chorus Line
Orchestrator Jason Carr on how the brainchild of director-choreographer Michael Bennett, with an outstanding score by first-time Broadway composer Marvin Hamlisch, became an evergreen classic
Behind the Song: Lin-Manuel Miranda's 'Alexander Hamilton' from Hamilton
Musician Joe Stilgoe explains how the opening number of Lin-Manuel Miranda’s mega hit plunges the audience into the deep end with a rap song that isn’t actually rapped