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Viva Forever, Piccadilly Theatre



Oh dear. The critics have given Viva Forever one of the worst slatings in recent memory, and its resultant poor sales have sent producer Judy Craymer into a tailspin, with rumours of heavy revisions to the book (or its being scrapped altogether) and pulling in one of the Spice Girls themselves to save the show running rampant in Theatreland. And yet seeing the production in the flesh, it feels like the critics were fairly lenient. Viva Forever is the kind of unequivocal disaster that only arrives once a decade, with every element failing altogether, often on multiple levels.

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Spice Girls Musical Launches – But Will It Last?


Ginger, Sporty, Scary, Posh, and Baby Spice all reunited in London yesterday for the launch of Viva Forever, the long-awaited Spice Girls musical. It will open at the Piccadilly Theatre on 11 December 2012 following the abrupt (if justified) closure of Ghost the Musical, with previews beginning 27 November.

The event yesterday followed months of rumours that infighting amongst the band might pull the plug on the project altogether. Melanie Chisholm (“Sporty Spice”) and Melanie Brown (“Scary Spice”) in particular took to Twitter this month to vent their frustrations at not performing as part of the Queen’s Jubilee Concert despite More >

The Wah Wah Girls, Peacock Theatre


As the eyes of the world turn to London in advance of the Olympics, the World Stages festival seeks to celebrate the capital city’s diversity, with mixed results so far. Its latest offering, The Wah Wah Girls, seeks to celebrate the diversity of the capital city with this vibrant musical set in the East End. Though the book and casting are both uneven, there’s no denying the cast’s exuberance and stellar choreography salvage the production.

Bindi (a hilarious Rina Fatania), a middle-aged housewife sits down to watch a Bollywood-style film and soon becomes a part of the story, weaving More >

Written on the Heart, Duchess Theatre



For all their international acclaim, some still view the Royal Shakespeare Company as a faintly elitist organisation, obsessively studying Renaissance texts in an ivory tower in Stratford and not giving much thought to the modern world. The company does little to dispel that notion with their latest West End offering, Written on the Heart. Despite a strong cast and solid staging by director Gregory Doran, it ultimately lacks the heart its title attempts to grasp at.

David Edgar’s play concerns the construction of the King James Bible and the competing factions who wanted a say in its More >

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