Cats is, declares composer Andrew Lloyd Webber, a show that doesn’t really have a story, but was beloved on stage because it’s “the ultimate theatrical experience”.
No one can accuse the gods of streaming of failing to cast a wide net. That's even more so with an array of streaming opportunities over the next week that ranges from Off West End Ibsen given a second chance to shine to an online encounter with, yes, The Encounter, and, should you wish, with its protean creator and leading man, as well.
Has anyone else noticed how fulltime this streaming thing has become? Those who were of a mind to (and who never slept) could find enough cultural output to satisfy 24/7, especially if one adds to the free offerings that crop up by the week the ongoing back catalogue made available on sites such as Marquee TV or Digital Theatre, and the like.
Time is moving in mysterious ways at the moment. It's been possible over the last month or so to mark out the beginning of each week with the arrival online of a different production streaming from the Hampstead Theatre archives.
Maybe you can't compare incomparables, but it was instructive to watch this Broadway lockdown gala feting nonagenarian Stephen Sondheim a night after the Metropolitan Opera's galaxy of stars welcoming us into their homes.
The lockdown has been extended, but here's the good news: each week whereby we are shut inside seems to bring with it ever-enticing arrays of theatre from across the spectrum, from online cabarets to freshly conceived podcasts and all manner of archival offerings of tites both familiar and not. Below is an unscientific sampling of items of interest to look out for either at the moment or during the week ahead.
The world might have changed drastically in the wake of Covid-19, but thankfully those hyperactive, candy-coloured Trolls haven’t. Anna Kendrick and Justin Timberlake are back as the delightful odd-couple, Poppy and Branch, for round two of pop-infused peppy animated adventure in the land of felt and feelings, where music can solve a myriad of problems.
“Whipped cream with knives” is how Harold Prince, who directed the Broadway premiere of A Little Night Music in 1973, famously described this particular Sondheim show. And nowhere is that borne out with more exquisite agony than in this duet between two unhappily married women.
Two numbers, one hair-raising slice of music-theatre. When Sondheim's paying homage to the older, revue type of musical, you can extract a string of top hits: Follies, from which Marianka Swain chose "I'm Still Here" yesterday, could yield at least half a dozen more choices, Company almost as many. When his aim is a more through-composed kind of story-telling, with leading motifs recurring and transformed, "highlights" are less easily detached.
Surely there’s never been a more apt time for Sondheim’s great cry of defiance? “I’m Still Here” is sung by showgirl-turned-actress Carlotta in Follies (1971) – added during the Boston try-out in place of “Can That Boy Foxtrot”. Loosely inspired by Joan Crawford, it’s the ultimate anthem of showbiz survival.