SOURCE: Morley, Sheridan. “Squeak and Bubble.” Spectator 275, no. 8721 (2 September 1995): 35.

In the following review, Morley asserts that a central theme of Hothouse is a triangular power struggle between the characters. Morley comments that Hothouse is both sinister and hilarious.

Certain Broadway musicals have, on this side of the Atlantic, always been more honoured in the breach than in the observance. Sondheim's Anyone Can Whistle (never seen in London), Herman's Mack and Mabel (about to open this autumn for the first time, some 21 years after it was first seen in New York), and Stephen Schwartz's Pippin (now in the National Youth Theatre revival at the Bloomsbury), have always attracted more backstage anecdotes and original-cast-recording addicts than actual audiences. And in the case of Pippin it is not hard to see why.

The score has one of the best opening numbers (‘Magic To Do’) in the history of the American theatre...