The incomparable Sheridan Smith returns to musical theatre in the world premiere of Opening Night from the creative minds of Rufus Wainwright, one of the most acclaimed songwriters of his generation, and celebrated director Ivo van Hove.
Based on John Cassavetes' legendary film, Opening Night follows a theatre company's preparations to stage a major new play on Broadway. But drama ignites behind the scenes when their leading lady is rocked by tragedy, and her personal turmoil forces everybody to deliver the performance of their lives.
This beautifully rich new musical premieres at London's Gielgud Theatre for a strictly limited run from 6 March 2024.
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Audio Described & Captioned: TBC
Signed: Saturday 20 April 2024 2.30pm
Anyone who bought tickets to Opening Night in the hope of seeing its star Sheridan Smith treating us to a bit of thespy, Funny Girl-style razzle dazzle is in for a serious shock. Belgian avant-garde theatre director Ivo Van Hove’s musical, set backstage during a show, is determinedly unflashy and oblique, dimly illuminated by singer-songwriter Rufus Wainwright’s operatic torch songs. In fact, it feels a bit like the whole cast is trolling musical theatre fans: they linger like bedraggled pigeons in the corners of a vast unornamented stage, capturing the inertia, rather than the glamour, of backstage life. It’s flawed, but intermittently haunting.
In transferring the film to the stage, Van Hove, who is adaptor as well as director, deliberately disrupts an already jagged story still further – introducing a documentary film crew who beam the cast’s reactions onto huge screens. Sometimes the screen shows what we are seeing on stage, sometimes it is a little behind. And sometimes, confusingly, it moves our attention to an action that is happening at the edge of things. The focus is always shifting, so that there is never an opportunity to get to understand any character before the next development lands. At the same time, Jan Versweyveld’s cluttered set, with mirrors and a table where the crew meet and chat, often doesn’t differentiate between scenes onstage in the play within the play that is being previewed to an audience, and the chaos backstage that is caused by Myrtle’s meltdown.
| 2024 | West End |
West End |
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