A wealthy recluse, dying but somehow not dead, sits atop his New York tower, hallucinating his past and the music of David Bowie. If it was difficult to see where Thomas Newton, the stranded alien protagonist of the 1976 film 'The Man Who Fell To Earth' ended, and Bowie – who played him – began, then that goes double for its musical sequel, ‘Lazarus’.Co-written by Enda Walsh and the late Bowie, 'Lazarus', catches up with Newton (Michael C Hall) in the present day, as he morosely drinks gin in his featureless apartment. There is little actual plot, but a sense of events finally coming to a head, as Newton’s hope and despair become manifested as ingenue the Girl (Sophia Anne Caruso) and the psychotic Valentine (Michael Esper). Meanwhile his new PA, Elly (Amy Lennox), finds her personality is being overwritten by that of Thomas's lost love, Mary-Lou.Ivo van Hove's claustrophobic production is more like a mood than a story, a homage to Nicholas Roeg's hallucinatory film, but also, presumably, a window into the decade of secluded ill health that followed Bowie's withdrawal from public life in 2005.Does this make it a good musical? I dunno: it's weirdly caught between aggressive artiness and a certain triteness. If you haven’t seen – and liked – the film, you’ll quite possibly be totally at sea here. If you do love its brooding vibes, you may cringe at a couple of moments where its icy aloofness is punctured by overly-sincere, ‘X Factor’-style performances of a couple of numbers.
Three theatres, three casts, one major disaster and seven Olivier Awards on, the National Theatre’s adaptation of Mark Haddon’s novel about Christopher Boone, the teenage ‘mathematician with some behavioural difficulties’ remains a thing of unbridled wonder.The occasion for this re-review is the end of the enforced layoff inflicted upon ‘The Curious Incident of the Dog in the Night-Time’. The show figuratively blew the roof off when it transferred from the NT to the Apollo Theatre, but unfortunately the ageing ceiling responded by literally collapsing, necessitating a change of venue and months off.
'My mummy says I'm a miracle,' lisps a pampered mini-me at a purgatorial kiddies' birthday party at the outset of this delicious, treacly-dark family show. The obnoxious ma and pa of its titular, gifted, pint-sized heroine are not, of course, quite so doting. But 'Matilda' must be making its creators, playwright Dennis Kelly and comedian-songsmith Tim Minchin, a very pair of proud parents. Opening to rave reviews in Stratford-upon Avon before transferring to the West End in 2011 and snatching up Olivier Awards with all the alacrity of a sticky-fingered child in a sweetshop, Matthew Warchus's RSC production remains a treat.