Review in the FT.
If, like me, you believe that the golden age of musicals didn't begin with Oklahoma! but more or less ended with it, then you long to see more musicals from the 1920s and 1930s. Irving Berlin, Rodgers and Hart, the Gershwins and Cole Porter achieved then for the musical what Haydn, Mozart, and Beethoven had achieved in classical music: a perfect balance of elements. Syncopation, melody, wit, rhythm, brio, romance came together in one ideal amalgam after another; the plot was there to support the music; and the musical numbers were the high points. MORE
And The Telegraph.
Trevor Nunn has received endless stick from the serious-minded for staging musicals at this publicly funded address, and even a confirmed tune-and-toe show buff like me felt his habit was getting out of hand with his dreary South Pacific. But hell, the guy is leaving next spring after doing a splendid job for the past five years, and who could begrudge him one last fix of the old razzle-dazzle? MORE
And The Guardian.
Even those of us who question Trevor Nunn's excessive dependence on the musical - by my reckoning, this is the eighth during his five-year tenure at the National Theatre - will concede that this is a headily enjoyable show. Cole Porter's 1934 classic takes us back to the happy days of musical comedy, before the genre was corrupted by its sense of self-importance. MORE
<small>[ 12-20-2002, 04:17: Message edited by: Joanne ]</small>