Coming soon to the Arts Theatre in the West End, the Chocolate Factory is delighted to be a part of Ruthless! The Musical – and we think you will love it! We have an EXCLUSIVE ticket offer just for our Chocolate Factory bookers, ensuring you get the best seats at the best prices before anyone else!
HOW FAR WOULD YOU GO TO GET WHAT YOU WANT?
The all-female camp KILLER cult classic finally makes its way to the Arts Theatre following its critical acclaim off-Broadway.
Ruthless! The Musical tells the story of the beautiful and talented 8 year old Tina Denmark who will do anything to play the lead in her school play… ANYTHING!
Ruthless! started Off-Broadway 25 years ago and discovered young performers including Britney Spears and Natalie Portman. The show famously spoofs Broadway musicals from Gypsy to Mame as well as iconic films including The Bad Seed & All About Eve.
Directed by Richard Fitch (Funny Girl - UK tour, Barnes' People - Trafalgar Studios) with choreography by Rebecca Howell (Chocolate Factory credits include She Loves Me, The Secret Diary of Adrian Mole, Barnum).
GET YOUR EXCLUSIVE TICKET DISCOUNT! Save up to 33% with best available tickets (usually £59.50) reduced to just £39.50 for all performances 16th March - 7th April.
But please note - this offer MUST be booked by Friday 9th February!
To secure your tickets call 020 7378 1713, or click below to book online using the Promo Code CHOC1 to take advantage of your special offer!
Jek we were there Friday night as well. First time up in the balcony, where of course the lovers were flying round our heads.
It is a delight and beautifully performed. I did think there were a few longueurs and was undecided if they didn’t show the hardships they went through strongly enough(i.e. realistically) or was it the strength of their love that minimised the effect the Russian revolution and WWW11 had on them. Best not to analyse to hard as it was a celebration of love and most refreshing.
Can anyone help? At the end they played Ella singing the beautiful Paper Moon which has been a delightful earworm for me all weekend. But the song they sang at the beginning was reprised near the end by either The Mills Brothers or The Inkspots (I’m guessing) and its driving me mad trying to recall what the song was?
These popular songs fitted so well with the Jewish music they sang because as Rogers and Porter said the minor keys came from the Cantor’s.
Now it’s off round the country and I would recommend a visit.
Not sure if there's a separate thread for offers, or if its worth starting a new one, but happy to share the following.
The Moderate Soprano: Ticket upgrade offer David Hare’s magnificent new play about the love story at the heart of the foundation of Glyndebourne transfers from its sold-out run at Hampstead Theatre to the West End. John Christie’s formidable vision, born out of his adoration for the beautiful soprano Audrey Mildmay and his innate passion for opera, became a gift to the nation, revered the world over. Book a Band B seat by 12 February for any Monday-Thursday and Saturday matinee performance until 29 April and receive a free upgrade to Band A seat. To take advantage of this special offer, simply use the promotional code ‘ROHupgrade’.
Last Edit: Jan 19, 2018 11:03:04 GMT by theatremonkey.com: Moved from another thread. And yes, mods do know it's a duplicate!
14 - Are You About A Size 14? - Silence! the Musical 15 – The Five-Fifteen – Grey Gardens 16 & 17 – Sixteen Going on Seventeen – The Sound of Music 18 – ... 19 - John Nineteen: Forty-One – Jesus Christ Superstar 20 - Twenty Million People - My Favorite Year 21 – 21 Guns – American Idiot
Tell me when did you discover you had this superpower and have you found it useful saving the world from evil villains and their nefarious ways?
The Royal Opera are on a real roll at present. In the space of ten days I've seen Cav & Pag, Rigoletto, Salome and Ulysses and they have all been musically very good to superb in standard.
Agree totally and particularly so with Soprano’s.
I have so enjoyed being thrilled by Elīna Garanča as Santuzza, Joyce DiDonato’s Semiramide and Malin Byström IS Salome. All three outstanding. Lucy Crowe deserves high praise for her Gilda. .
I would also mention being really impressed by Francesca Chiejina as Micaela in their recent production of Peter Brooks Carmen. In Ulysses she took the role of Melantho and again caught my ear. One to watch out for and it will be interesting to see what roles they give her next.
Jeb thank you. There’s so much happening in London its hard to keep up, delighted when others add to the thread. Have booked for opening night and it will be both my first visit to the Guildhall and this Opera. I see they also have upcoming events with Ian Burnside and masterclasses with Susan Bullock and Yvonne Kenny etc. www.gsmd.ac.uk/music/view_all_events/?cats=5
FWIW I take a broader view than many ‘purists’ and if it works dramatically then I’ll allow quite a lot. I think the idea of following tradition and stage directions literally will not be good for the future of any performing art. Of course the problem is that what “works” is subjective.
What I find do currently find gratuitous is the no of simulated rapes on stage. That’s what the moment at the begging of this production of Rigoletto is about (And again this time the man is naked). This is not a Quentin Letts style dig at the ROH, but a real concern about what is being depicted. I struggle to name them all but there’s been quite a few. I don’t think anti-war films present their case by showing the casualties of the heat of battle and I don’t think the seriousness of rape is demonstrated by what is always a very brief act on stage. There is usually an element of ‘forbidden’ titillation as the dark side of life is presented and it often smacks of someone trying to be a bit right on, showing how awful the man is. But presenting this within an entertainment strikes a very discordant note with me.
I'm going tonight and will report back on how we felt about it. Of course I will bring my binoculars!
After seeing both WE productions, the Cinema relay of this one twice and two CD recordings, I’m full of admiration for Follies, but still don’t know quite what to make of it overall.
I don’t think this has been posited before but I’ve been wondering if Follies ultimately fails because of the final sequence? I find Loveland an ANTI climax. The God-Why-Don't-You-Love-Me Blues" , "The Story of Lucy and Jessie" and even "Live, Laugh, Love” are not nearly the strongest songs in the show. They do advance the story but fail to deliver the emotional punch that Musical Theatre can. You can argue these characters are ultimately failures but I thnk that’s a dead end. Because Losing My Mind is SO strong it transforms the way we feel about a rather foolish character and unbalances the whole sequence.
I’m left dazzled (wow), thinking (good) but slightly unsatisfied (bad) i.e. confused. Probably not an original feeling and maybe another production will show me the error of my thinking, but it’s what I’m left with.
I'm currently reading Tim Pigott-Smith's memoir, Do You Know Who I Am?, and I just came across a passage that struck me as relevant to this thread. He talks about having seen a production of The Taming of the Shrew, with Peggy Ashcroft and Peter O'Toole, in Stratford in 1959. [Pause for a moment of silent awe at the thought of what that production must have been like.] Then he says this:
"The Shrew has recently been bogged down in deadening sexual politics which kill the central motor of the play. You cannot allow modern moral judgements to subvert the ethics of a play. The racism of The Merchant of Venice might not be to our liking, but it is the play, and if you don't engage with it the play does not happen. Inevitably, you filter things through your own contemporary mindset, but you change the ethical motors within a play at your peril."
In 1955 in Sydney, I saw Robert Helpmann and Katherine Hepburn with the Old Vic Company playing 'Taming of the Shrew', 'The Merchant of Venice' and 'Measure for Measure'. They played all three pieces for all they were worth in the traditional manner and with hindsight I expect the PC brigade would have had a fit of the vapours, especially over Helpmann's Shylock and Petruchio, but they were brilliantly entertaining, although at the age of 18 I may have been somewhat green in judgement!