Profile for Scripps2

yyys said: "Thanks Jordan...Standing at the Sky’s Edge sounds interesting!"

Standing at the Sky's Edge has a very ambitious book that starts with three different stories at three different points in time and, as the stories progress and time changes (not necessarily forwards), they begin to overlap with one another - there's a lot going on and audiences need to have their wits about them. It also uses the building in which the drama takes p

Scripps2 said: "Having turned in great performances here, there and everywhere for the last few years, and with reviews like this, Mr Bailey presumably has the supporting-Olivier in the bag."

Glad it's now in the bag and not down those skinny white jeans he wears, though his wearing of them alone, even without the great performance, is Olivier-worthy.

I must say a significant part of the pleasure of this production for me, which I saw twice, was se

This isn't in the same league as Jerusalem but it's a funny and thrilling piece of theatre. When I saw it in London a guy in the row behind me leapt up and shouted "what an ending," when the sudden release came after the slow build, and I wouldn't disagree with him. It's not a philosophical masterpiece nor is it profound nor does it offer insight into the human condition but it is both damn good fun and a damn good roller coaster ride.

Apparently

ajh said: "Good point. That’s why The Mystery Of Edwin Drood never really caught on in the UK. The original West End production, mounted by the same team responsible for the Broadway hit version and with a starry cast, flopped miserably."

Yes, that's another.

Full credit to the Kinky Boots team who were determined to produce something that had an authentic voice and would therefore transfer successfully. Which, of course, it did. Full credit to

Well, that was astonishing - I've never seen so many American gay men in the National Theatre!

And, beyond any shadow of a doubt, it was the best production of Follies I've seen. The book they used seemed to be an augmented version of the 1971 original. All the great dialogue was there; there were no wtf moments when something you expect to hear doesn't happen. And I saw and understood in a way I've never seen before just how well integrated the whole piec

I saw the European premier in Manchester in 1985 with my late parents, which used James Goldman's original script. We found it such an astounding experience that my father came out of the matinee and immediately booked for us all to see the show again that evening.

A couple of years later, we also saw the 1987 London production, which, sepia-tinted and watered-down and despite its lavish production values and starry cast, felt underwhelming in comparison.

And I've seen f