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Company and Come From Away Big Winners at the Olivier Awards

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Olivier Awards 2019: Winners

Best Actor: Kyle Soller for The Inheritance at Young Vic and Noël Coward Theatre

Best Actress: Patsy Ferran for Summer And Smoke at Almeida Theatre and Duke of York’s Theatre

Best Actor in a Musical: Kobna Holdbrook-Smith for Tina – The Tina Turner Musical at Aldwych Theatre

Best Actress in A Musical: Sharon D. Clarke for Caroline, Or Change at Playhouse Theatre

American Airlines Best New Play: The Inheritance at Young Vic and Noël Coward Theatre

Best New Comedy: Home, I’m Darling at National Theatre – Dorfman and Duke of York’s Theatre

Cunard Best Revival: Summer And Smoke at Almeida Theatre and Duke of York’s Theatre

Magic Radio Best Musical Revival: Company at Gielgud Theatre

Mastercard Best New Musical:Come From Away at Phoenix Theatre

Best Entertainment and Family: A Monster Calls at The Old Vic

Blue-i Theatre Technology Award for Best Set Design:Bunny Christie for Company at Gielgud Theatre

Best Costume Design: Catherine Zuber for The King And I at The London Palladium

White Light Award for Best Lighting Design: Jon Clark for The Inheritance at Young Vic and Noël Coward Theatre

Royal Albert Hall Award for Best Sound Design: Gareth Owen for Come From Away at Phoenix Theatre

Sir Peter Hall Award for Best Director: Stephen Daldry for The Inheritance at Young Vic and Noël Coward Theatre

Best Theatre Choreographer: Kelly Devine for Come From Away at Phoenix Theatre

Outstanding Achievement In Music:Come From Away – Book, Music and Lyrics: David Hein and Irene Sankoff; Music Supervisor, Arrangements: Ian Eisendrath; Orchestrations: August Eriksmoen; Musical Director/UK Music Supervisor: Alan Berry; and the band of Come From Away at Phoenix Theatre

Best Actor In A Supporting Role: Chris Walley for The Lieutenant Of Inishmore at Noël Coward Theatre

Best Actress In a Supporting Role: Monica Dolan for All About Eve at Noël Coward Theatre

Best Actor In A Supporting Role In A Musical: Jonathan Bailey for Company at Gielgud Theatre

Best Actress In a Supporting Role In A Musical: Patti LuPone for Company at Gielgud Theatre

Best New Dance Production: Blkdog by Botis Seva at Sadler’s Wells

Best New Opera Production: Katya Kabanova at Royal Opera House

Outstanding Achievement In Affiliate Theatre: Flesh And Bone at Soho Theatre

Outstanding Achievement In Dance: Akram Khan for his performance in Xenos at Sadler’s Wells

Outstanding Achievement In Opera: The ensemble of Porgy And Bess at London Coliseum

Suzanna, co-owns and publishes the newspaper Times Square Chronicles or T2C. At one point a working actress, she has performed in numerous productions in film, TV, cabaret, opera and theatre. She has performed at The New Orleans Jazz festival, The United Nations and Carnegie Hall. She has a screenplay and a TV show in the works, which she developed with her mentor and friend the late Arthur Herzog. She is a proud member of the Drama Desk and the Outer Critics Circle and was a nominator. Email: suzanna@t2conline.com

Out of Town

Crow’s Theatre, Musical Stage Company, and Soulpepper Theatre Company Take Home Numerous 2024 Toronto Theatre Critics’ Awards

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After a four-year hiatus, the Toronto Theatre Critics’ Awards (S) returned to honor excellence from the 2023-24 professional theatre season. The 11th TTCAs, announced Tuesday morning, June 11th, boast 19 winners across 14 categories, including a special citation for artistic achievement.

Crow’s Theatre and Soulpepper Theatre Company were the big winners this year, each receiving seven awards, with the sensationally well-received Crow’s Theatre/Musical Stage Company co-production of Natasha, Pierre and the Great Comet of 1812. The production led the musical division with three wins, including Best Production of a Musical, with two members of its company; George Krissa and Heeyun Park 박희윤, jointly awarded for Best Supporting Performance in a Musical.

Soulpepper Theatre Company followed close behind with two wines for the fascinatingly dynamic world premiere of De Profundis: Oscar Wilde in Jail. Damien Atkins, the production’s star, won the award for Best Lead Performance in a Musical. Gregory Prest, who directed and adapted the production from its source material; Wilde’s original love letter of the same name, was also recognized as Best Director of a Musical.

Damien Atkins and Colton Curtis in Soulpepper Theatre’s De Profundis: Oscar Wilde in Jail. Photo by Dahlia Katz.

In the Musical Division

  • Crow’s Theatre and Musical Stage Company co-production of Natasha, Pierre and the Great Comet of 1812: Best Production of a Musical, and George Krissa and Heeyun Park박희윤 were jointly awarded the prize for Best Supporting Performance in a Musical.
  • Soulpepper’s production of De Profundis: Oscar Wilde in Jail: Damien Atkins won the award for Best Lead Performance in a Musical, and Gregory Prest, who directed as well as adapted the material from Wilde’s original love letter of the same name won Best Director of a Musical.
  • Kelly v. Kelly, Britta Johnson and Sara Farb’s new musical inspired by true events, produced by the Musical Stage Company in association with Canadian Stage won Best Ensemble in a Musical.
Sean Arbuckle (left) as Thomas and Krystin Pellerin as Diana in Casey and Diana. Stratford Festival 2023. Photo by Cylla von Tiedemann.

The Play Division

  • Nick Green’s drama Casey and Diana, which ran at Soulpepper after premiering at the Stratford Festival, won the award for Best New Canadian Play, and actor Sean Arbuckle received the prize for Best Leading Performance in a Play.
  • Michael Healey’s satire The Master Plan, produced by Crow’s Theatre, also won Best New Canadian Play, and the cast won Best Ensemble in a Play
  • Amaka Umeh also won Best Leading Performance in a Play for their performance playing two characters in Soulpepper’s Sizwe Banzi is Dead.
  • Two actors were awarded the prize for Best Supporting Performance in a Play: Jadyn Nasato, for her performance in the Studio 180 Theatre production of Four Minutes, Twelve Seconds, and Oyin Oladejo for her turn in Three Sisters, co-produced by Soulpepper and Obsidian Theatre Company.
L-R: Antoine Yared, Stephen Jackman-Torkoff, Ben Page, Qasim Khan, and Daniel MacIvor in Canadian Stage’s production of Matthew López’s The Inheritance. Photo by Dahlia Katz.
  • Crow’s Theatre’s production Bad Roads won Best International Play, and Andrew Kushnir won Best Director of a Play. The work by Ukrainian playwright Natal’ya Vorozhbit is based on real-life testimonies from witnesses to Russia’s invasion of the Donbas in 2014.
  • Leora Morris also wins Best Director of a Play for their work on Coal Mine Theatre’s production of The Sound Inside by Adam Rapp.
  • Canadian Stage’s production of the two-part drama The Inheritance won Best Production of a Play.
  • Best Design, Play or Musical went to Nick Blais (lighting), Heidi Chan (sound), Anahita Dehbonehie (set), and Niloufar Ziaee (costumes) for their collective work on A Public Reading of an Unproduced Screenplay About the Death of Walt Disney, co-produced by Outside the March and Soulpepper Theatre Company.
  • Theatre legend Daniel MacIvor received a special citation for his work over the past season, which included a memorable performance in The Inheritance, and the revivals of his plays Monster and Here Lies Henry, both produced by Factory Theatre.
Mike Shara (front and center) and the cast of Crow’s Theatre’s The Master Plan. Photo by Dahlia Katz.
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Hairspray – High Stepping in Houston

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Returning to the Broadway at the Hobby Center series for one week only, the high-stepping, toe-tapping, raucous romp good time known as Hairspray the musical. Join “The Nicest Kids In Town” for a three hour escapade through history, teenaged angst, a powerful message against the evils of segregation and the importance of inclusivity. With joy peppered in to its oh-so-beating, never ending, joy ride, heart, this Tony Award-winning musical comedy brings smiles to the faces, as well as a few well-earned tears of joy to the eyes, of every audience member.
Let’s quickly revisit the history of all things Hairspray. This material originated back in 1988, in John Waters and New Line Cinema’s cult classic movie of the same name. Launching the career of then newcomer, Ricki Lake, and featuring Water’s frequent onscreen collaborator, Divine, with Blondie’s Debbie Harry and Sonny Bono as the scheming baddies. Fast forward to 2002, Hairspray was brought to the stage as a full-fledged Broadway musical, winning eight Tony Awards, including Best Musical, as well as trophies for Marissa Jaret Winokur and Harvey Fierstein, as the dynamic mother/daughter act. The cast also and included a pre-Glee Matthew Morrison and a pre-Xanadu Kerry Butler.

Caroline Eiseman

In 2007, the movie-turned-musical, returned to cineplexes, this time starring A-list Hollywood royalty including John Travolta as Edna, Michelle Pfeiffer, Christopher Walken, Zac Efron and Queen Latifah. Almost a decade after that, NBC remounted a live television musical, including Tony Award-winner Kristin Chenoweth, EGOT Jennifer Hudson, pop princess Ariana Grande and Dancing With The Stars Emmy-winner, Derek Hough, in the cast. Today, however, the show has returned to the stage in a gloriously remastered national tour.

Caroline Eiseman, Greg Kalafatas

The story centered around plucky teenager, Tracy Turnblad, played with aplomb by Caroline Eiseman. We are under her delightful spell from the moment she began the opening number “Good Morning, Baltimore.” The spirited, zaftig teen has one ambition, to become a council member and dance on “The Corny Collins Show” an American Bandstand type program based in Baltimore. Her worried mother, Edna (a scene stealing Greg Kalafatas) frets they won’t put a girl as heavy as Tracy on air, and that her daughter is setting herself up for a massive disappointment. With best friend, delightfully dorky, Penny Pingleton (a dynamite Scarlett Jacques) by her side, Tracy headed to the studio where she came face to face with her onscreen crush, teenaged heartthrob, Link Larkin (Skyler Shields) an Elvis wannabe with dreams of stardom of his own. The roadblocks to her teenaged-dreams becoming a reality, racist television producer, the villainess, Velma Von Tussle (Sarah Haynes) and her daughter, and Link’s current girlfriend, Amber (Caroline Portner), both putting Turnblad squarely in their nefarious sights.

Josiah Thomas Randolph, Kalab Quinn, Gabriel Yarborough and Company

Frequently sent to after-school detention, Tracy met a slew of kids of color, and quickly befriended Seaweed J. Stubbs (an electrifying Josiah Rogers). His rendition of “Run and Tell That” paired with his precision dance moves, proved Rogers should have a long and celebrated career ahead of him. A little cultural appropriation later, Tracy “borrowed” all of Seawood’s singular sensational dance moves, and secured herself a spot on the show. Believing everyone should have the right to dance together, Tracy then started a movement for equality that set the racially-segregated Baltimore on its ear. Her student activism fueling the engine on this exciting train ride of a narrative. Seaweed’s mother, Motormouth Maybelle (standout Deidra Lang) delivered the emotionally impactful, gospel-tinged power ballad, “I Know Where I’ve Been” to thunderous applause.

Greg Kalafatas, Ralph Prentice Daniel

The talent team behind the show is a who’s who of Tony Award-winners and Broadway legends. The music and lyrics, written by Tony Award-winners, Marc Shaiman and Scott Wittman, is a combination of silly shenanigans and poignant prose that has stood the test of time. “Welcome to the 60s’, sung by The Dynamites (Ashia Collins, Leiah Lewis and Kynnedi Moryae Porter) is an act one standout, arguably the three strongest voices on the stage. The closing number “You Can’t Stop The Beat” is an anthem of equality and progressive momentum that will stay with you long after the curtain has dropped. William Ivey Long’s costume design is so well honored here, you would think they are all his Great White Way originals.

Greg Kalafatas, Caroline Eiseman

It wouldn’t be Hairspray, without the gravity defying wigs and hair design, credited to Paul Huntly and Bernie Ardia, with visual nods to the rock band The B-52’s, former first lady, Jackie O and the silhouettes of ancient Greek statuary. David Rockwell’s technicolor set proved the importance of coloring with every crayon in the box. Robbie Roby energetic choreography paid tribute to the original signature moves of Jerry Mitchell. The same Mitchell behind hits Kinky Boots, La Cage aux Folles, On Your Feet!, and Pretty Woman: The Musical fame, just to name a few. Finally, Jack O’Brien’s brisk direction has been wonderfully reproduced at the skilled hands of Matt Lenz.

Does the chubby girl get the guy in the end? Will the Corny Collins Show become fully integrated? Will the devilish Von Tussle’s be undone? Well, you have to see the show for answers to all of these questions and more. Well worth your time, the charms of this Hairspray continue to hold tighter than Aqua Net in a rainstorm. Consummately sung, skillfully danced and packed to the gills with scene stealing comedians, Hairspray the musical is a pre-summer Houston treat to beat the heat.

Stephen Best

Hairspray played Broadway at the Hobby Center in Houston from June 4-9, 2024

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Canadian Stage’s Dream in High Park Gives Toronto a Hamlet Under the Stars

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Canadian Stage celebrates 41 years of High Park performances with a production of one of Shakespeare’s most iconic plays Hamlet directed by Jessica Carmichael and featuring a luminous cast led by Qasim Khan as Hamlet,
with Prince Amponsah, Raquel Duffy, Christo Graham, Stephen Jackman-Torkoff, Sam Khalilieh, Breton Lalama, Beck Lloyd, Dan Mousseau, Amelia Sargisson, James Dallas Smith and featuring Diego Matamoros as Claudius. On stage July 21 – September 1 in the glorious High Park Amphitheatre

For 41 years, Canadian Stage – one of the country’s premiere producers of large-scale theatre and the largest not-for-profit theatre in Toronto – has been an accessible and foundational theatre experience for generations of Torontonians through its beloved summer theatre tradition Dream in High Park.   This magical annual event returns this July with a new production of one of Shakespeare’s definitive tragedies, HAMLET, on stage under the stars from July 21st to September 1st.

Jessica Carmichael – whose 2021 production of The Rez Sisters for the Stratford Festival was called “the most confident directorial debut at the festival in ages” by The Globe and Mail, directs a stunning cast led by Qasim Khan as Hamlet, joined by Prince Amponsah, Raquel Duffy, Christo Graham, Stephen Jackman-Torkoff, Sam Khalilieh, Breton Lalama, Beck Lloyd, Dan Mousseau, Amelia Sargisson, James Dallas Smith, and featuring Diego Matamoros as Claudius.  Dream in High Park is generously supported by Lead Sponsor TD Bank.

Set amidst the tumultuous backdrop of political intrigue and familial betrayal, this iconic tale follows the tormented Prince of Denmark as he grapples with existential questions of life, death, and revenge. The upcoming production is only the second time in Dream in High Park’s history that Hamlet has been produced and this year’s show serves as a companion to Canadian Stage’s hotly anticipated Canadian Premiere production of the 2022 Pulitzer prize-winner, Fat Ham.

“Hamlet is one of the most loved and iconic titles in Shakespeare’s canon and also one of the most thrilling psychological dramas in the theatre,” says Canadian Stage Artistic Director Brendan Healy. “We are incredibly excited to be able to offer Toronto audiences the opportunity to experience a new production of the original text in the park this summer, and then to also discover the Pulitzer Prize and Tony-winning adaptation FAT HAM, later this seasonWe are also thrilled to introduce our audiences to Jessica Carmichael, an exceptional director whose work at Shaw and Stratford has proven her to be an essential voice in this country.”

Coming off a breathtaking performance as Eric in The Inheritance, Canadian Stage is delighted to welcome Qasim Khan back to its stage. Khan, in fact, performed in the one previous production of Hamlet in 2016 as Horatio, now stepping into the titular role. He now leads a luminous cast comprised of many of Canada’s most talented actors, both seasoned and up-and-coming.

Largely considered one of the most complex and coveted roles in classical theatre,

Shakespeare is thought to have written Hamlet in 1599 or 1600 and the play is most likely to have first been performed in 1601.  It has been translated into over 75 languages in the over 400 years since publications, and, like many of Shakespeare’s texts, coined several phrases now embedded in the English language including; ‘to the manner born’, ‘cruel to be kind’, ‘the primrose path’, ‘neither a borrower nor a lender be’, ‘more honoured in the breach than the observance’, ‘something is rotten’, ‘more things in heaven and earth’, ‘the time is out of joint’, ‘brevity is the soul of wit’, ‘this mortal coil’, ‘hoist with one’s own petard’ – and Gertrude’s line, ‘the lady doth protest too much, methinks’.

Hamlet runs July 21st through September 1st.  Performances take place Tuesday through Saturday at 8:00pm with Sunday performances now offered at 7:00pm. For tickets and information, click here.

Photo by Dahlia Katz.

For more go to frontmezzjunkies.com

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Live From The Hotel Edison Times Square Chronicles Presents Bradley Jaden In A Special Edition

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“Live From The Hotel Edison Times Square Chronicles Presents”, is  filmed live every Wednesday from at the Hotel Edison.

In this episode T2C’s publisher and owner Suzanna Bowling talks with Bradley Jaden. This is a special episode as I was at Bradley Jaden’s concert in NYC and asked to interview him, but he was flying back ASAP to London to do two sold out concerts there. This was very last minute but I am so glad it happened.

I am so grateful to my guest Bradley Jaden.

Suzanna, Bradley Jaden and Rommel Gopez

Thank-you Magda Katz for videoing and creating the content to go live, Rommel Gopez and The Hotel Edison for their kindness and hospitality.

We are so proud and thrilled that Variety Entertainment News just named us one of Summer’s Best Picks in the category of Best Television, Radio, PodcastsThe company we are in, has made us so humbled, grateful and motivated to continue.

You can catch us on the following platforms:

Pandora:

https://www.pandora.com/podcast/live-from-the-edison-hotel-times-square-chronicles-presents/PC:1001084740

Stitcher:

https://www.stitcher.com/show/1084740

Spotify:

Amazon:

https://music.amazon.com/podcasts/e3ac5922-ada8-4868-b531-12d06e0576d3

Apple Podcasts:

https://podcasts.apple.com/us/podcast/live-from-the-edison-hotel-times-square-chronicles-presents/id1731059092

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Stratford’s Romeo and Juliet Satisfies But Never Truly Finds its Originality

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Drumming up a goddess in white, she sings from the opening monologue that lays the groundwork for Stratford Festival‘s Romeo and Juliet. It’s a sparkling starry opening, drawing forth images of star-crossed lovers that look to the heavens for guidance. Captivating and engaging in its creation, Shakespeare’s Romeo and Juliet is getting the full treatment this year playing well and true. Directed with determination by Sam White (Stratford’s Wedding Band), the production digs its heels into the traditional, holding on to a visual that feels more historical than forward floating. It’s a pleasurable outing, giving these fine actors ample opportunity to do what they are trained to do, with the older guard finding an authentic connection to the material. At the same time, the younger, less seasoned souls deliver their lines compassionately and with respect, but did not manage to find an earthy grounded nature to their unpacking. They say lines cause they are written, not because they feel them moving through them.

Jonathan Mason as Romeo and Vanessa Sears as Juliet in Romeo and Juliet. Stratford Festival 2024. Photo: David Hou.

The famed star-crossed lovers, dressed in color-coded costumes by set and costume designer Sue LePage (Shaw’s Brigadoon), are utterly sweet and endearing in the first half of their love story. Romeo, played warmly and compassionately by the handsome Jonathan Mason (Stratford’s Little Women) finds ample opportunity to give us a youth who falls quickly in love with his Juliet, played wide-eyed and giggly by the lovely and captivating Vanessa Sears (Stratford’s Twelfth Night). Following the straightforward path to love and marriage, these two come together as if following the stage directions of the play, rather than us feeling the electricity in their actions. It does feel sweet and engaging when they talk about love to others, especially in the first half, but when the actually falling in love happens, it comes too fast and somewhat forced, saying lines about love, attraction, and devotion as if they know they are famous lines, long before we even feel the spark of lust or fascination flying between them. In the second half, filled with despair, grief, and anger, these two struggle to find the emotional truth hidden deep down inside their young hearts. They stay, following the text and emoting as instructed. The lines are delivered with force, but never feel like it is in their bones or their flowing in their red hot blood.

From left: Glynis Ranney as Nurse, Andrew Iles as Mercutio, John Kirkpatrick as Balthasar, and Steven Hao as Benvolio in Romeo and Juliet. Stratford Festival 2024. Photo: David Hou.

The same can not be said of Glynis Ranney (Stratford’s Much Ado About Nothing) and Scott Wentworth (Stratford’s Twelfth Night) as the Nurse and Friar Laurence, who find clarity and deep connection to every line uttered. Ranney’s Nurse gives a well-rounded and clever portrayal that is both touching and lovely, making every line have a personal journey and meaning. And “Holy Saint Francis“, Wentworth’s Friar also unpacks frameworks and understanding into every movement he makes and every line spoken. It feels rooted in the here and now, and motivated by what is happening around him and what is being said to him. This can not be said of the majority of this production.

The same can be said of the always reliable and talented Graham Abbey (Stratford’s Much Ado About Nothing) as Capulet, Juliet’s father, who has to manage his emotional state through a range as large as a roller coaster. He first has to be open and accepting when he sees Mason’s Romeo at his masked party, a party that is filled with sexual tension and energy. Abbey’s Capulet must chastize the overzealous (and not all that believable) Tybalt, portrayed by Emilio Vieira (Stratford’s Grand Magic), to settle his fury down. He instructs him to just enjoy the party, as Romeo is doing no harm, and he hears he’s quite likable. Yet, later, he must shift to the father figure who is ready to throw his daughter down and away almost violently when she says she does not want to marry the good, somewhat bland, Paris, played by Austin Eckert (Stratford’s Twelfth Night). It’s a difficult and dutifully performed swing that Abbey must make, and we believe it, drinking the shift in authentically.

Unfortunately, Jessica B. Hill (Stratford’s Richard III) as Lady Capulet doesn’t achieve the same level of understanding. She, like the somewhat forgettable 郝邦宇 Steven Hao (Tarragon’s Cockroach) as Benvolio, the underused Michael Spencer-Davis (Stratford’s Love’s Labour’s Lost) as Montague, and Antonette Rudder (Stratford’s Hamlet-911) as Lady Montague, never really finding a strong footing within this rendering. They all, like the two leads, deliver fine presentations, without discovering a unique framework or motivation for them to actually speak those famed lines. [On a side note, I’ve always been curious about the disappearance of Lady Montague in the second half for reasons of plot. leading me always to question why Shakespeare doesn’t include her for that emotional final scene when all the other parents and players arrive. I wonder if some double-casting complications prevented Romeo’s mother from being present in that final scene. Did the same actor also play the Friar? Or Paris? The reasonings are there and reported by Montague, but they don’t seem necessary to the plot or the play, and are somewhat imposed upon.]

Andrew Iles as Mercutio in Romeo and Juliet. Stratford Festival 2024. Photo: David Hou.

One of the better performances of this production lies within Andrew Iles (Stratford’s Three Tall Women) and his double-duty portrayal of Mercutio and another hooded role that surprisingly makes us sit up and take notice in a production that does not have a lot of surprises within. The sword scenes are generally thrilling, produced by fight and intimacy director Anita Nittoly (Stratford’s The Rez Sisters), although the epic battle between Romeo and Tybalt felt awkward and misrepresented. Romeo doesn’t actually stab the fiery cousin of Juliet, but strangles him in a way that looks more like a neck and shoulder rub than anything remotely deadly, yet they continually speak of blood being shed. Now in a production that took a lot of liberties with the language, this could be forgiven, but this is not the construction of this Romeo and Juliet. It’s literate and determined to follow the text to a level that almost hurts their unpacking. And speaking of literate, Thomas Duplessie (Stratford’s Grand Magic) as the illiterate servant Peter also manages to find moments of charm and engagement that feel honest and clever. I wish the production took more chances like it did with these two, delivering moments of unique thoughtfulness and earthiness that live deeper in the soul and soil of the play. Many in the cast, thanks to White’s direction need to dig down much deeper below the obvious surface to create more complex formulations, contemplations, and emotional states that would make us sit up and pay more attention. Giving us a slightly different vantage point to unpack, Like they did with the apothecary casting.

But as delivered here on Stratford’s Festival Stage, with lighting by Louise Guinand (Stratford’s Les Belles-Soeurs) and musical composition and sound design by Debashis Sinha (Stratford’s Casey and Diana), this Romeo and Juliet delivers a Shakespearean staple that isn’t all that deep or unique. It’s genuinely straightforward and unpacked in a clear obvious manner – beyond the seasoned pros who find some captivating weight. It keeps us tuned in but not dazzled or fascinated by this well-known story. This Romeo and Juliet needed some freshness and a formula that didn’t feel so standardized. It needs some originality stitched inside its well-wornness. The Stratford Festival can do better than this. It’s definitely not unwatchable nor is it terrible, but it does hang out in the world of fine and functional, and I was hoping for more. I guess I’ll have to hold my breath and wait to see what is in store for me this week when I see the new West End production of Romeo & Juliet, directed and produced by Jamie Lloyd, and starring Tom Holland as Romeo and Francesca Amewudah-Rivers as Juliet.. It just opened a week or so ago at the Duke of York’s Theatre, and I’m seeing it tomorrow. Cross your fingers for me. And for these two star-crossed lovers.

Jonathan Mason as Romeo (left) and Vanessa Sears as Juliet with Scott Wentworth as Friar Laurence in Romeo and Juliet. Stratford Festival 2024. Photo: David Hou.

For more go to frontmezzjunkies.com

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