Reviews

Prima Facie is an epic solo performer experience that is akin to climbing Mount Everest and back again. It is a story in two sections, narrated in amazingly fast paced, first-person present tense by Tessa Ensler, an ambitious barrister in her early 30s who has risen from a Luton council estate via Cambridge to an up-market London practice.

It was a success in the West End and on Broadway, won multiple awards, and has alerted the legal profession to address the issues raised by the story.

Starkids Musicals very much have a cult following, with a good proportion of each audience established fans who already know the show well, and anticipate each moment, occasionally preempting punchlines. All of this Can be a little disconcerting for the “average theatre goer” who may wonder what they are missing. Thankfully, The Guy Who Didn’t Like Musicals is well directed, staged and performed, so even if you feel you are missing something, there is some good singing to enjoy.

Buckle up, folks. This show is a roller coaster of burlesque, explicit live sexuality, grief, homage, catharsis, performance art history lesson and skyclad pagan rite. Emma May Gibson’s work is a logical extension of the tradition of wild, hippy, witchy emancipated fringe performance art that flourished in the sexual revolution of the 1960s and feminist circles in the 70s and 80s with performers like Carolee Schneeman, Annie Sprinkle and Casey Jenkins.

Voted by Time Magazine as the best musical of the 20th century, Carousel's combination of a compelling storyline, well-crafted characters, and an unforgettable score solidifies its status as a landmark work in American theatre history. Richard Rodgers and Oscar Hammerstein II wrote eleven musicals together including the highly successful Oklahoma!, The King and I and The Sound of Music.