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.
A strange adaptation of a strange film, for a show with so many cameras onstage, this new musical displays a maddening lack of focus. Directed and written by Ivo van Hove, with songs by singer-songwriter Rufus Wainwright, it’s based on John Cassavetes’ avant-garde 1977 movie, in which a famous actor preparing for the opening of a new Broadway-bound play loses her grip on reality and runs amok. The wayward plot involves a ghostly girl, the spectre of old age, hunger for love, and copious amounts of booze – all laced with lashings of meta-drama. But if Cassavetes’ original succeeds in compelling, thanks largely to striking cinematography and a raw performance from Gena Rowlands, this version, which features live video footage, is so aimless and tonally muddled that it feels downright weird. Which might be less of a problem if it were not ultimately a bit boring.
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