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La Voix's Journey to Stardom La Voix, the stage persona of Chris Dennis, has been entertaining audiences for years with her sharp wit, show tunes, and bright crimson coiffure. With over 130 cruises under her belt, La Voix has performed for thousands of people, but few know her real name. From Drag to Musical Theater La Voix's first drag appearance was at a primary school talent show as Karen Carpenter, singing Top of the World. This early start in drag led to a career in performance, including working as a stage makeup artist and singing at Soho's Madame JoJo's club. La Voix's Big Break La Voix gained popularity after appearing on TV shows such as RuPaul's Drag Race and Strictly. Her wit and charm on these shows made her a fan favorite, and she has since become a household name. Musical Debut in Annie La Voix is now set to make her musical debut as Miss Hannigan in Annie. This role is a full-circle moment for Dennis, who used to see Paul O'Grady performing in musicals when he first moved to London. La Voix's performance in Annie marks a new chapter in her career, bringing her drag persona to the musical theater stage. The Impact of La Voix's Performance La Voix's performance in Annie is expected to bring a fresh take to the classic musical. Her experience in drag and performance will likely bring a unique energy to the role of Miss Hannigan. With her popularity and charm, La Voix is sure to delight audiences and bring a new level of excitement to the musical. The Future of La Voix La Voix's future in musical theater looks bright. With her debut in Annie, she is poised to become a star in the musical theater world. Her experience in drag and performance has prepared her for this moment, and she is sure to bring her signature wit and charm to the stage.

The Supernatural Musical Romance The origins of this supernatural musical are in ancient British folklore but it plays out as a teen love story in small-town America. Young, spirited – and human – Barbara Allen (Lauren Jones) falls in love with John the Witch Boy (Glenn Adamson), from a community of Witches and Conjur People. The Plot and Its Roots She is willing to incur the wrath of parents and neighbours in her Appalachian town to be with this mysterious man who has drifted in from the Smoky Mountains and is rumoured to have diabolical powers. He is willing to abjure his immortality to spend the rest of his life with her. Both are rebels, determined to be together despite social censure. The Musical Elements The generation that grew up with Twilight would be forgiven for thinking the setup rather derivative but, in fact, Dark of the Moon got there first. Originally written by Howard Richardson and William Berney as a play, it was first performed in 1942 and then turned into a musical. The themes are all there, from the fierceness of a young love that crosses all social – and mortal – boundaries, to the undertones around the fear of sex and importance of fidelity. The Performances and Production Jones brings an edge of punk with a look not far removed from Kristen Stewart’s while Adamson seems to be channelling emo pop star energy (jeans, plaited hair and eyeliner). It’s all rather weird, but proves its own eternal life through the power and personality of the songs by Lindy Robbins, Dave Bassett and Steve Robson. There are vocally pure performances across the cast, however amped up and cheesy the production as a whole. The Verdict The production is rather too ridiculous to become the tear-jerker it could be but it’s enjoyable nevertheless. At Charing Cross theatre, London, until 8 August.

The Guardian’s latest review of Beetlejuice: The Musical notes that the production has turned Tim Burton’s cult‑film into a Halloween‑like, shock‑jock musical extravaganza now playing at the Prince Edward Theatre until 17 April. The show mixes grotesque humor, topical references and high‑octane staging, delivering a wild but uneven theatrical experience.Beetlejuice Musical Reanimates Tim Burton’s Cult Classic on the West EndOriginally staged on Broadway in 2019, the London version abandons the film’s “less‑is‑more” restraint. The titular character, played by David Fynn, bursts onto the stage with a self‑aware ballad, immediately setting a tone of anarchic satire. The production leans heavily into contemporary jokes—hip‑ster vaping, six‑seven slang, and even a jab at Andrew Lloyd Webber—while preserving the film’s macabre spirit.Creative Team’s Off‑kilter Vision Drives the Show’s AestheticDirector Alex Timbers orchestrates a chaotic visual palette: Kenneth Posner’s lighting creates an uncanny glow, Peter Nigrini supplies trippy projections, and set designer David Korins transforms the theatre into a haunted house complete with a sandworm that slithers through the auditorium. Costume designer William Ivey Long delivers “toxic yet sparkly” outfits, from Miss Argentina’s glittering ensemble to Lydia Deetz’s spidery black lace. The special‑effects team—Jeremy Chernick, Michael Weber and puppeteer Michael Curry—adds a layer of tactile wonder, most memorably a roast pig that stands upright during a possession scene set to “Day‑O.”Critical Reception Highlights Strengths and WeaknessesThe review praises standout performances: Hannah Nordberg brings “drop‑dead energy” to Lydia, while David Hunter and Chelsea Halfpenny convincingly portray the newly deceased Maitlands. However, the script’s rapid swing between the Netherworld and the living world can feel “tiresome,” and the musical numbers, though varied, are described as “oddly unmemorable.” The show’s relentless gag‑fest is likened to a “Netflix megastar stand‑up desperate to cause outrage,” suggesting that the novelty may wear thin over a full run.What Lies Ahead for Beetlejuice on the London StageDespite its unevenness, the production’s bold visual identity and strong cast give it a solid footing in the competitive West End market. If the show can harness its cult‑film fanbase and attract audiences seeking a high‑energy, Halloween‑style experience, it may enjoy a sustained run beyond the current booking. Conversely, word‑of‑mouth about the “scattershot dialogue” could limit its appeal to repeat‑viewers, making the next few weeks critical for box‑office momentum.

Colin Matthews: A Life of Influence on UK Classical Music It's hard to think of a single figure who has been so influential on contemporary UK classical music for so long as Colin Matthews, who turned 80 earlier this year. This release from the Nash Ensemble, conducted by Jessica Cottis, showcases his works for voice and chamber group. The Kaleidoscopic Sound World of Seascapes What's striking throughout these four song cycles is the kaleidoscopic sound world he creates with such forensic precision, whether he has seven players to work with or 17. The songs teem with detail; some would almost work without the singer. And yet the vocal line remains the focus. Exploring the Album's Tracks The Island (2007), setting three poems by Rilke, was written for Claire Booth's cool-water soprano; she's also the soloist in Seascapes (2020) and A Land of Rain (2017), and sounds as vibrant as ever, even if occasionally the words get lost in the supple musical lines she is sculpting. In 2018's As Time Returns, it's the baritone Marcus Farnsworth who sings Ivan Blatný's poetry, with honeyed tone and disarming clarity. A Land of Rain: A Study in Interpretation The largest-scale work is A Land of Rain: 10 songs setting words by the poet Nicholas Moore, taken from the 31 different translations he made of a single Baudelaire poem (entries to a newspaper competition, submitted under 31 variously silly pseudonyms). Matthews's music, moving chameleon-like through different styles, brings them alive as a study in how words can be reinterpreted from a myriad of angles. The last song sets the French original – and as the musical strands finally coalesce, in almost Mahlerian style, it's as if all the other songs were a daydream. Listening to Seascapes Listen on Apple Music (above) or Spotify

The Rise of Heated Rivalry: From Canadian TV to NYC StageWalking into the Culture Club in West Chelsea, New York, for a performance of Heated Rivalry: The Unauthorized Musical Parody last week, I was met by three ghosts left over from when the space was called the McKittrick hotel and it hosted the immersive spookfest, Sleep No More. The first was the phantom of clever detail: cans of Athletic IPAs for sale, a cute, non-alcoholic nod to the mega-popular series' hockey setting. The second was of unnerving fright, as I realized there would be no booze at this singing satire. Would I be able to make it through 90 minutes of jokes about an overexposed Canadian gay sports romance, with zero quality guarantee and an even lower blood alcohol concentration? At least at the downtown premiere of the popular parody Titanique, long before it proved itself worthy of a handful of Tony nominations, you could stand up and order a bucket of White Claws.But then the third specter materialized, the ghost of immersion and surrender, as this very funny production completely won me over. (I've since learned that a liquor license is forthcoming.) Heated Rivalry, for the uninitiated, is a television show adapted from a series of gay romance novels by Rachel Reid, a straight woman who unwittingly launched a thousand discussions about who gets to be horny over whom, how and when. Fans of the books petitioned for a wider release of the show produced for the Canadian streamer Crave, last November and, some six months later, its formerly unknown stars Connor Storrie and Hudson Williams are in easy contention for the most photographed people alive. Heated Rivalry: The Unauthorized Musical Parody is the latest addition to New York City's musical parody cottage industry, which has led me to a theater lobby where a woman in a branded hockey jersey is telling the stranger next to her that she's seen the series "probably not as many times as you think, but still a lot".The Unauthorized Musical: A Masterclass in ParodyThere was a communal giddiness as everyone filed into the unassuming performance space, where less than 200 folding chairs were arranged around a small stage. Super-fans were giddy that their dreams were coming true, and the more reserved types, perhaps blushing at what they deemed beneath them, were still clearly enjoying themselves. I liked the TV show just fine, a bit underwhelmed at what was broadly discussed as "softcore smut" but felt more in line with the twee "naughtiness" of the romance world. I had worried a musical parody put together in a few months would be a cash-grab; plain fan service for those who can't get enough of those six novels or episodes, not jabbing at the culture so much as stroking its ego. Impressively, as written by Dylan MarcAurele and directed by Alan Kliffer, it satisfies all three camps.Framing is everything, and this romp begins with a faux earnest number, à la Waitress, where three suburban Susans detail their newfound pastime: putting their husbands to bed with some iPad time, knocking back an "Ambien margarita" and reveling in their favorite televised "boy aquarium". From there, "Main Susan" (Ryann Redmond, glorious) recaps the years-long flirtation between the feuding players, innocent Japanese-Canadian "Shane Hollander" (Jimin Moon) and brusque Russian "Ilya Rozanov" (Jay Armstrong Johnson).The obligatory double entendres (a song titled Shane Hollander, Slap that Stick! or a line, by Shane's mom, about the "heavy load" her obviously gay son carries) are expertly delivered right between earnestness and tongue-in-cheek, but it's MarcAurele's ability to mock the story's sillier elements that clinched it for me. Shane, whose thumb-twiddling submissiveness often grated me in the TV show, is played by Moon as a dopey bottom with a hopeless romantic complex. What the series plays out as a forbidden romance writ epic across timelines and borders, MarcAurele presents as Shane's borderline delusion in dealing with an uncaring dom for years on end. "I keep replaying things he said," Shane beams after a hookup, "like, 'Ass up, little whore.'" The score's best number, certainly the one best primed for cabaret nights anywhere, is Liza Minnelli's Maybe This Time send-up where Shane croons, "This fuck felt different from the last fuck. This fuck, he asked if I would stay."If reading that inspires eyerolls – totally – Moon (and the rest of the cast, which includes Cherry Torres and Ryan Duncan) are so winning in their deliveries, so in on the joke without reducing their project into one, that it's impossible to resist. As the icy-hot Ilya, Johnson has the less showy role and plays it mostly straight, which makes his song about an outcast childhood made tragic by his impossibly "big ass, cold heart" that much funnier. And, well, let's face it: Johnson and Moon are sexy as hell, and charming to boot. Kliffer's inventive staging, with choreography by Brooke and Tiffany Engen on a resourceful set by Sully Ross, goes long on bunny-hopping glee.The Off-Broadway Parody Boom: A New RenaissanceThe Canadian Kliffer, previously artistic director of famed improv spots like Second City and Asylum NYC, where he helped launch Titanique's improbable boom, later told me that these parodies rarely come together with such speed, let alone quality. He'd loved MarcAurele's Pop Off, Michelangelo! in London and M3gan spoof stateside, and had just bought into Heated Rivalry, courtesy of its amorously optimistic fifth episode, when the writer texted him with the idea. The resulting work fits attractively between the out-and-out bawdiness of the Titanic send-up and the relentless Millennial nostalgia of Ginger Twinsies, which parodied the 90s Parent Trap remake last summer, and Kliffer notes that this very queer, very funny moment downtown – which also includes Cole Escola's Oh, Mary! – points to "a little bit of an Off-Broadway renaissance."This particular renaissance seems to be defined by parodies that are loving but not saccharine, willing to mock their source material while still celebrating what made it appealing in the first place. The success of these shows suggests a hunger for theater that doesn't take itself too seriously but still delivers genuine theatrical craft. In a city where Broadway ticket prices can be prohibitive, these intimate, affordable productions offer a different kind of theatrical experience – one that feels more accessible and immediate.Cultural Impact: Beyond the ParodyHeated Rivalry exists at the intersection of several cultural conversations. The original series, based on novels by Rachel Reid, sparked discussions about who gets to tell LGBTQ+ stories and how those stories should be represented. The parody doesn't shy away from these questions but instead uses humor to explore them. By exaggerating certain elements of the original series, the musical actually highlights what made it compelling in the first place.The show also represents the growing visibility of LGBTQ+ stories in mainstream entertainment. What began as niche content has become a cultural phenomenon, with the original series gaining international attention and its stars becoming unlikely celebrities. The musical parody capitalizes on this popularity while simultaneously commenting on it, creating a meta-narrative that appeals to both fans and newcomers.Moreover, the success of Heated Rivalry reflects a broader trend in entertainment where audiences are increasingly drawn to content that acknowledges and plays with its own artificiality. In an era of heightened awareness about media consumption, audiences seem to appreciate works that don't pretend to be anything other than what they are – crafted, performed, and enjoyed.The Future of Parody Theater: What's Next?As the Off-Broadway scene continues to evolve with these clever parodies, we can expect to see more adaptations of popular TV shows and movies hitting the small stage. The success of Heated Rivalry, following in the footsteps of Titanique and other parody hits, suggests that there's a sustainable market for this type of entertainment.What's particularly interesting is how these parodies are pushing the boundaries of traditional musical theater. They're more immediate, more self-aware, and more willing to break the fourth wall than many conventional productions. This approach seems to resonate with younger audiences who are accustomed to interactive media and meta-commentary.Looking ahead, we might see parodies of other recent cultural phenomena – perhaps streaming hits, viral social media trends, or even political events. The key to success, as demonstrated by Heated Rivalry, will be balancing genuine affection for the source material with sharp, intelligent humor that offers something new to the conversation.

The Mischief Theatre Company's Thespians Review The Mischief theatre company has been making fun of actors' foibles for years, especially in their deliriously amusing Goes Wrong series. Their first musical, Thespians, asks if the rampaging egos, heated rivalries, creative differences, and hammy activities of actors can be dated back to the world's very first acting troupe. The World of Thespians Little is known about the real Thespis, father of tragedy in the sixth century BC. Co-writers and lyricists Jonathan Sayer and Ed Zanders introduce him on the drought-plighted island of Ikaria and chart his odyssey to Athens, where he competes in a Eurovision-style prayer competition at the whim of a merciless tyrant and ends up founding the art of acting with his pals. The Musical Elements The musical elements of Thespians are a highlight, with songs that grow stronger over the evening. The show includes a Kander and Ebb spoofing Old Man Tango, with a geriatric chorus line prone to back pain. The sound, from Ben Smith's band, is more Sondheim than Rydell High in a show subtitled Greece the Musical (But Not That One). The Performances The cast, including James Spence as Thespis, Luke Latchman as Atlas, and Marc Pickering as Adonis, deliver strong performances. The show is directed by Robyn Grant and features a panto-esque adventure with a mix of physical comedy and witty wordplay. The Verdict While the show could benefit from zippier physical set pieces and a faster-paced ending, it distinguishes itself with an abundance of heart and soul. Thespians is a sweetly affecting paean to keeping good company – in life as much as in theatre.

The Glyndebourne Festival's Tosca Debut Giacomo Puccini's Tosca has finally made its debut at the Glyndebourne Festival, 92 years after the festival's inception. The production, directed by Ted Huffman and conducted by Robin Ticciati, opened the 2026 festival with a high-octane bloodbath that left audiences reeling. A Fresh Take on a Classic The production takes a fresh approach to the classic opera, setting it in a mid-20th-century church interior before transitioning to a high-end restaurant and finally, an abandoned nowhere. The set design and lighting are exquisite, with details such as wooden pews, a small Madonna and child on the wall, and real mid-century modern spotlights. Musical Performance The musical performance was also praised, with Matteo Lippi delivering a heroically burnished performance as Cavaradossi and Caitlin Gotimer bringing Tosca to life with her gleaming top notes and emotional depth. The London Philharmonic Orchestra was also on fine form, with Ticciati coaxing midnight-black sonorities from the lower reaches. The Impact of the Production The production's screws begin to tighten with the entry of arch-villain Scarpia, clad in a double-breasted pinstripe suit and delivered with dangerously smooth vocals by Vladislav Sulimsky. The final act is the most compelling of all, with a setting that is both painterly and appalling. What's Next The production will run at Glyndebourne, Sussex, until 22 June and 4-30 August. With its shocking debut and rave reviews, Tosca is set to be a highlight of the 2026 festival season.

The Concept Behind Our Public House Dash Arts' latest piece, Our Public House, uses the English pub as a backdrop to explore themes of community, politics, and racial tension in a small British town. The play is inspired by community workshops attended by over 700 people, which informed the script and songs. The Story and Its Themes The story takes place in the fictional town of Albion, where the local pub, also named Albion, serves as a community hub. The play's central figure, Sanjana, the landlady of the pub, is a British Asian woman struggling to keep her business afloat after her husband's death. The story explores the rise of the far right and racial tension in Britain today. The Performance and Music The cast delivers strong performances, particularly Bharti Patel as Sanjana. However, the musical elements of the play are less successful, with the songs not being particularly memorable or musically impressive. The Community Aspect and Its Impact The play incorporates a community ensemble of local actors who join the main cast on stage in the second half. While this adds a sense of community and authenticity to the production, it sometimes feels like the community cast interrupts the narrative flow created by the main cast. The Verdict and Future Outlook Overall, Our Public House is a worthy and heartfelt production that effectively portrays the complexities of life in a divided Britain. Despite some flaws, it provides a valuable platform for community voices and discussions on important social issues. The play will run at Leeds Playhouse until 23 May.

The Performance We know that Aeneas is going to sail away. We know it before he arrives, before he declares his love to Dido, and certainly before the Sorceress and her witchy acolytes get all eye-of-newt about it. But when your opera house is the great hall under the Cutty Sark, and the clipper’s 200ft copper hull is rearing up over your head, it’s impossible to forget the tragedy that Purcell’s compact drama has in store. The Staging So you have to wonder why Andrew Staples, director of the Monteverdi Choir’s semi-staging, felt the need to work quite so hard? The space is the staging. You can try to ignore it (no mean feat when the museum’s collection of antique figureheads flanks the stage in a surreal guard of honour: Florence Nightingale rubbing painted wooden shoulders with Disraeli, Sir Lancelot and a selection of buxom lovelies), but you can’t work against it; you simply won’t win. The Musical Performance Close your eyes, though, and this was a rich account. Conductor Jonathan Sells rode every darting, eddying current in the score, the English Baroque Soloists a colourful, abandoned force in celebration, infinitely restrained elsewhere. Best of all were unaccompanied choral moments – “With drooping wings”, or the two interpolated Funeral Sentences – where movement and time stilled together, voices absolutely unified in their inflection, carving the music’s emotions with devastating clarity. The Vocal Performances The space’s natural resonance allied to some big voices made for an exciting central drama. German-Egyptian mezzo Karima el Demerdasch (definitely one to watch) was a voluptuous-voiced Dido, her suicidal queen still coming into focus. Johanna Wallroth’s radiant, exuberantly ornamented Belinda and Bethany Horak-Hallett’s sumptuous Sorceress supplied the rival musical poles, tugging us from good to ill and back again. And what a treat to have a properly baritonal Aeneas in Hubert Zapiór – a worthy lover and sparring partner for Demerdasch, a hero almost worth dying for. The Future of the Performance Next month the show travels to Norway for the Bergen festival. Cut loose from its nautical anchor, I suspect it’ll pick up several dramatic knots.