Skip to main content

Here we go again: which jukebox musical should be next?

The box office success of Mamma Mia 2 and Broadway buzz over shows centred around music from The Go-Go’s, Alanis Morrisette and Cher opens the doors for more big star musicals

If jukebox musicals come in waves, right now we’re experiencing a significant swell. The second cinematic plunder of the Abba catalogue, Mamma Mia! Here We Go Again, has already made $176m worldwide in just over a week. The Go-Go’s catalogue show, Head Over Heels, just opened on Broadway, joining Summer, a musical stitched around the life of Donna Summer, which debuted in April. On the horizon looms Jagged Little Pill, one of the few jukebox musicals to win rave reviews for its early run, insuring a swift move to Broadway. Soon enough it will be joined by The Cher Show, based on the bawdy life of the ex-Mrs Bono; Tina: The Musical, a New York version of the hit from London; and a new beast called The Heart of Rock & Roll which plumbs the Huey Lewis and the News archives for a production that opens at San Diego’s prestigious Old Globe Theatre in September.

Related: 'This play is full of firsts': behind the groundbreaking Go-Go's musical

Continue reading...

from Culture | The Guardian https://ift.tt/2AnAroc

Comments

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV

Elena Ferrante: ‘Solaris is not Tarkovsky’s best film, but it made the greatest impression on me’

Solaris is astonishing because the book that inspired it doesn’t seem to contain Tarkovsky’s film A film that I watch at least once a year is Andrei Tarkovsky’s Solaris . I’ve loved all of Tarkovsky’s works, even the most difficult. Some I’ve seen in the cinema, others on television. I saw Andrei Rublev at the cinema, and on the big screen it was astonishing, its black-and-white extraordinary: I’ll probably never see it again in a cinema, but I hope that young people will have the opportunity. I also saw Solaris on the big screen – not Tarkovsky’s best film, but the one that made the greatest impression on me. I remember that it was advertised as the Soviet answer to 2001: A Space Odyssey – a completely misleading slogan. To see in it a cinematic contest between the US and the USSR was as silly as it was misleading. Kubrick’s marvellous film, with its imaginative force, would certainly win. But it doesn’t have even a hint of the desperation, of the sense of loss, that dominates Sol...