Theatre review: Working

Studs Terkel has been one of America’s favourite radio hosts and journalists since 1945, and is known especially for his interviews with regular people and the books he’s published collecting them. Working, which unsurprisingly looks at people from the perspective of their jobs, is the most famous of these, but is still an unlikely subject for a musical, and Stephen Schwartz and Nina Faso’s adaptation is in its turn an unusual musical: In its current form, only three of the songs are by the Wicked composer himself, as Schwartz asked a number of other writers and musicians to contribute different voices. Craig Carnelia is the most frequent contributor with four songs, James Taylor and Micki Grant each provide two, and there’s one by Mary Rodgers and Susan Birkenhead. Since its 1977 debut it’s been further rejigged, so now it also boasts the current biggest name in musical theatre with two songs by Lin-Manuel Miranda.

Theatre review: The Rocky Horror Show

I toyed with calling this a "non-review," my term for when I don't feel qualified to pass comment on something (usually because I didn't stay to the end.) In this instance it wouldn't have been because of me but because Richard O'Brien's The Rocky Horror Show has gone beyond anything that can actually be reviewed, into a surreal immersive experience where most of the audience know the script better than the cast do. In fact I've never seen the show on stage before, although I have seen the film; Christopher Luscombe’s production seems to be almost permanently touring the country so I always figured there'd be another chance to catch it. But after seeing the obscure sequel Shock Treatment last year it seemed about time for a visit to the famous original, in which newly-engaged couple Brad (arsehole) (Ben Freeman) and Janet’s (slut) (Diana Vickers) car breaks down and they go to a spooky mansion to see if they have a phone they can use (they don't.)