Is now a golden age for original musicals on the West End?

Published

2 years ago

May 4, 2024

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At a time when jukebox musicals dominate London’s West End, some of theatreland’s stars argue the success of original shows is proof “audiences are ready to take a risk”.

From Motown to Michael Jackon, Tina Turner to the Jersey Boys, the past two decades have seen an exponential rise in offerings based around songs most of us will already know the words to.

Back in 1999, the runaway success of staging Mamma Mia! – based on ABBA’s extensive back catalogue – proved to be a game-changer.

It resulted in several investors believing they’d stumbled across a magic formula – the combination of chart hits with nostalgia being an easier sell to a guaranteed audience who like to know what they are getting.

While there’s no escaping their popularity or dominance, they’re not the shows that critics are getting really excited about.

Two Strangers (Carry A Cake Across New York) is an original offering with brand new music that most people won’t have heard of, yet the millennial rom-com is losing count of the five-star reviews it has picked up within a matter of weeks.

Sam Tutty – who plays Dougal in the two-hander – says writers had to “fight tooth and nail” to bring it into the West End.

The actor, who previously won an Olivier for playing the lead in Dear Evan Hansen, explained: “To be at the place it is now is because they were allowed a foot in the door somewhere along the way.”

Dujonna Gift stars alongside him as Robin in a story that follows how two twentysomething strangers meet ahead of a wedding.

“Fringe theatre is kind of where it’s at right now,” she explains, “and supporting and championing these writers to believe that there is space in the market for their work will do great things.”

Gift, who’s previously starred in Hamilton and Motown: The Musical, says: “As someone who has done jukebox musicals before there’s always a market for that but right now… it’s really important that we create the spaces for these new writers.”

The success of Operation Mincemeat is proof of how word of mouth can get just as many punters through the door as casting a pop star.

The musical, which is based on the true story of the secret mission that won Britain World War Two, has extended its run eight times to keep up with demand.

While it recently won Best New Musical at the Oliviers, before writing the hit its creators – sketch troupe SpitLip – had come close to quitting theatre for good.

“When we first started making theatre you could get grants,” actor and writer Natasha Hodgson tells Sky News.

“It’s just really hard to be a creator without an enormous pot of cash in your bank right now.

“The whole theatre ecosystem is very aware of how difficult it is for theatre makers to get work off the ground, and everyone’s doing everything they can in terms of supporting new work and trying to get commissions over the line, but it is difficult, we have to keep banging the drum of how the arts is in our blood in this country.

“I do think that this show and others like this are proving that actually audiences are ready to take a risk, they’re ready to come and support new stuff.”

While harnessing the power of well-known musical property is more widely considered a safe bet for producers, Two Strangers producer Tim Johanson says it has meant truly original offerings are a harder sell.

“Surprising familiarity is a phrase I’ve heard a lot,” he explains.

“You need to have heard of X, or it’s a stage version of this artist’s work, or it’s this book or film, and all of those can make really great shows.”

But, rather than bring fans of existing musicians into the theatre, Johanson says they appear to be amassing an army of their own.

“People have seen the show 15, 16, 17 times already, they’re the ones who are talking about it online and driving other people to come and see it, driving the millions of music streams that we’re heading towards.”

So, while jukebox musicals might be everywhere, Johanson isn’t too worried.

“Operation Mincemeat, Six, those are the two that blazed the trail and genuinely, in my career, this feels like the best time to write new British musicals.”

Two Strangers (Carry a Cake Across New York) is at the Criterion Theatre until 31 August. Operation Mincemeat is at the Fortune Theatre, London until 16 November.

Entertainment

Half of novelists fear AI will replace them entirely, survey finds

Published

7 hours ago

November 20, 2025

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Half of novelists fear AI will replace them entirely, survey finds

The novel has survived the industrial revolution, radio, television, and the internet. Now it’s facing artificial intelligence – and novelists are worried.

Half (51%) fear that they will be replaced by AI entirely, according to a new survey, even though for the most part they don’t use the technology themselves.

More immediately, 85% say they think their future income will be negatively impacted by AI, and 39% claim their finances have already taken a hit.

Tracy Chevalier, the bestselling author of Girl With A Pearl Earring and The Glassmaker, shares that concern.

“I worry that a book industry driven mainly by profit will be tempted to use AI more and more to generate books,” she said in response to the survey.

“If it is cheaper to produce novels using AI (no advance or royalties to pay to authors, quicker production, retainment of copyright), publishers will almost inevitably choose to publish them.

“And if they are priced cheaper than ‘human made’ books, readers are likely to buy them, the way we buy machine-made jumpers rather than the more expensive hand-knitted ones.”

Why authors are so worried

The University of Cambridge’s Minderoo Centre for Technology and Democracy asked 258 published novelists and 74 industry insiders how AI is viewed and used in the world of British fiction.

Alongside existential fears about the wholesale replacement of the novel, many authors reported a loss of income from AI, which they attributed to “competition from AI-generated books and the loss of jobs which provide supplementary streams of income, such as copywriting”.

Some respondents reported finding “rip-off AI-generated imitations” of their own books, as well books “written under their name which they haven’t produced”.

Last year, the Authors Guild warned that “the growing access to AI is driving a new surge of low-quality sham ‘books’ on Amazon”, which has limited the number of publications per day on its Kindle self-publishing platform to combat the influx of AI-generated books.

The median income for a novelist is currently £7,000 and many make ends meet by doing related work, such as audiobook narration, copywriting or ghost-writing.

These tasks, authors feared, were already being supplanted by AI, although little evidence was provided for this claim, which was not possible to verify independently.

Copyright was also a big concern, with 59% of novelists reporting that they knew their work had been used to train AI models.

Of these, 99% said they did not give permission and 100% said they were not remunerated for this use.

Earlier this year, AI firm Anthropic agreed to pay authors $1.5bn (£1.2bn) to settle a lawsuit which claimed the company stole their work.

The judge in the US court case ruled that Anthropic had downloaded more than seven million digital copies of books it “knew had been pirated” and ordered the firm to pay authors compensation.

However, the judge sided with Anthropic over the question of copyright, saying that the AI model was doing something akin to when a human reads a book to inspire new work, rather than simply copying.

Most novelists – 67% – never used it for creative work, although a few said they found it very useful for speeding up drafting or editing.

One case study featured in the report is Lizbeth Crawford, a novelist in multiple genres, including fantasy and romance. She describes working with AI as a writing partner, using it to spot plot holes and trim adjectives.

“Lizbeth used to write about one novel per year, but now she can do three per year, and her target is five,” notes the author of the report, Dr Clementine Collett.

Is there a role for government?

Despite this, the report’s foreword urges the government to slow down the spread of AI by strengthening copyright law to protect authors and other creatives.

The government has proposed making an exception to UK copyright law for “text and data mining”, which might make authors and other copyright holders opt out to stop their work being used to train AI models.

“That approach prioritises access to data for the world’s technology companies at the cost to the UK’s own creative industries,” writes Professor Gina Neff, executive director of the Minderoo Centre for Technology and Democracy.

“It is both bad economics and a betrayal of the very cultural assets of British soft power.”

A government spokesperson said: “Throughout this process we have, and always will, put the interests of the UK’s citizens and businesses first.

“We’ve always been clear on the need to work with both the creative industries and AI sector to drive AI innovation and ensure robust protections for creators.

“We are bringing together both British and global companies, alongside voices beyond the AI and creative sectors, to ensure we can capture the broadest possible range of expert views as we consider next steps.”

Entertainment

Princess of Wales says her children were ‘very sad’ to miss Paddington at Royal Variety Performance

Published

10 hours ago

November 20, 2025

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Princess of Wales says her children were 'very sad' to miss Paddington at Royal Variety Performance

The Princess of Wales has admitted her children were “very sad” to miss the Royal Variety Performance in London, which she and the Prince of Wales attended.

Prince William and Kate made their first appearance at the event since her recovery from cancer.

Wednesday’s red carpet show at the Royal Albert Hall was headlined by the cast of Paddington The Musical.

After arriving and being presented with posies by nine-year-old twins Emelia and Olivia Edwards, the family of staff at a care home for entertainment industry workers, Kate asked if they were fans of Paddington Bear.

The princess, wearing a green velvet gown, then told the girls that her children were “very sad” not to attend the show and added she had to tell them children were not allowed to go.

“My kiddies were very sad, we’re going to have to keep it a big secret that I saw you guys,” she said.

“They were very sad not to be joining us.”

It is the sixth time William and Kate have attended the annual charity event.

When Olivia told the prince, wearing a tuxedo, her favourite singer was Billie Eilish, he replied she had good taste.

He said: “It’s very nice to see you both. You’re very smiley, you two.”

The royals were also greeted on the red carpet by ITV board members and representatives from the Royal Variety Charity, of which the King is the royal patron.

The Paddington cast were set to take to the stage on Wednesday evening, while pop star Jessie J and Grammy award-winning singer Laufey were also expected to perform.

Held annually, the Royal Variety Performance was first staged in 1912 for King George V and Queen Mary in support of the charity, which helps those working in the entertainment industry.

Ahead of the show, its executive producer Giles Cooper said the charity was “thrilled” the prince and princess would “once again attend the Royal Variety Performance”.

Mr Cooper, also chairman of the charity, added: “This annual great British institution, viewed by a worldwide TV audience of over 150 million, continues to be a crucial fundraising event supporting people in all areas of performance, either on or off stage.

“In this pressurised world of working in the entertainment industry, our mental health initiative, started in 2024, has been a lifeline for many who are experiencing issues such as anxiety, depression or addiction.”

On Tuesday, the princess called on businesses to value “time and tenderness just as much as productivity and success” in her first speech since she was diagnosed with cancer at the start of 2024.

Speaking at the Future Workforce Summit, Kate told 80 business leaders: “Every one of you interacts with your own environment; a home, a family, a business, a workforce, a community.

“These are the ecosystems that you yourselves help to weave. Imagine a world where each of these environments were built on valuing time and tenderness just as much as productivity and success.

“As business leaders, you will face the daily challenge of finding the balance between profitability and having a positive impact. But the two are not, and should not be incompatible.”

Entertainment

Gustav Klimt’s Portrait of Elisabeth Lederer sells for £180m at auction, a record for modern art

Published

22 hours ago

November 19, 2025

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Gustav Klimt's Portrait of Elisabeth Lederer sells for £180m at auction, a record for modern art

A painting that helped save the life of its Jewish subject during the Holocaust has become the most expensive piece of modern art and the second most expensive painting ever sold at auction.

The Portrait of Elisabeth Lederer, by Austrian artist Gustav Klimt, was bought for $236.4m (£180m) by an unnamed buyer after a 20-minute bidding war at Sotheby’s in New York on Tuesday.

Its sale price beat the previous record for 20th-century art set by Andy Warhol’s Shot Sage Blue Marilyn, a portrait of Marilyn Monroe bought for $195m (£148m) in 2022.

The most expensive painting ever sold at auction was Leonardo da Vinci’s Salvator Mundi, which fetched $450m (£342m) in 2017, Christie’s said on its website.

Sotheby’s said on X the price for the Klimt was “astonishing”, making the piece “the most valuable work of modern art ever sold at auction”.

The portrait, which Klimt worked on between 1914 and 1916, depicts the daughter of one of Vienna’s wealthiest families wearing an East Asian emperor’s cloak.

Evaded fire and Nazi looters

Measuring 1.8m (6ft), the colourful piece, which was completed in 1916, illustrates the Lederer family’s life of luxury before Nazi Germany annexed Austria in 1938.

It was kept separate from other Klimt paintings that burned in a fire at an Austrian castle.

It also escaped being looted by the Nazis, who plundered the Lederer art collection.

They left only the family portraits, which they held to be “too Jewish” to be worth stealing, according to the National Gallery of Canada, where the painting was previously on loan.

Father lie saved her life

To save her own life, Elisabeth Lederer made up a story that Klimt, who was not Jewish and died in 1918, was her father.

It helped that the artist spent years working meticulously on her portrait.

She convinced the Nazis to give her a document stating that she descended from Klimt, which allowed her to live safely in Vienna until her death from illness in 1944.

The painting, which is one of two full-length portraits by the Austrian artist that remain privately owned, was part of the collection of billionaire Leonard A Lauder, heir to the Estée Lauder cosmetics empire, who died this year.

Five Klimt pieces from Lauder’s collection sold at the auction for a total of $392m (£298m), which also included pieces by Vincent van Gogh, Henri Matisse and Edvard Munch, Sotheby’s said.

An 18-carat-gold toilet by Maurizio Cattelan – the provocative Italian artist known for taping a banana to a wall – sold for a reported $12.1m (£9.2m).

The fully-functioning toilet, one of two he created in 2016 satirising superwealth, was stolen while on display at Blenheim Palace, the country manor where Winston Churchill was born, in 2019.

Two men were convicted of the theft, but it’s unclear what they did with the loo.

Investigators believe it was likely broken up and melted down.