“Tao Of Glass,” a new theatrical production directed and performed by Phelim McDermott, offers audiences an unconventional exploration of creativity and the work of composer Philip Glass. Running until September 12 at Soho Place in London, the show blends improvisation, puppetry, and a minimalist musical score to craft a distinctive stage experience.

McDermott, 62, draws on a lifelong connection to Glass’s music, which served as a formative influence during his childhood. The production features McDermott alongside a puppet boy, who guides the audience through a series of evocative vignettes that examine the nature of inspiration and artistic development. Among the varied sources of inspiration cited are Japanese kintsugi, the illustrations of Maurice Sendak, and the sensation of floating in isolation tanks.

The staging incorporates inventive puppetry with tissue paper printed with musical scores to create ghostlike figures, including a representation of Glass at the piano. The visual elements complement the hypnotic minimalist score by Philip Glass, resulting in a dreamlike, theatrical piece that defies easy categorization.

At the other end of the theatrical spectrum, the Theatre Royal Plymouth offers a revival of the 1995 musical adaptation of “Fame,” which continues through August 15. The original 1980 film by Alan Parker is remembered for its gritty realism, memorable soundtrack, and vivid characters, elements that the stage production struggles to fully capture three decades later.

While the revival includes some familiar songs from the original, such as the title track and “Out Here On My Own,” their impact is diminished by new arrangements and uneven performances. The story follows several students at the High School of Performing Arts in New York City, each grappling with personal and artistic challenges, including issues of literacy, sexuality, and ambition.

The cast, led by Tyrone (Amonik Melaco), Nick (Joe Boyle), Serena (Megan Ellis), Shlomo (Toby De Salis), and Carmen (Talia Palamathanan), deliver technically proficient performances but are hindered by a script that often falls into cliché and heavy-handed moralizing. Scenes featuring adult authority figures emphasize the difficulties of performing arts training but are criticized for lacking charm or nuance.

Despite the cast’s dedication and polished choreography, the production has been described as uninspired, with musical numbers and dialogue that fail to resonate deeply with contemporary audiences. Critics note that while “Fame” has enduring appeal, this iteration does not fully do justice to the spirit of the original film or its soundtrack.

In summary, “Tao Of Glass” has been praised for its originality and imaginative presentation, offering a refreshing, immersive theatrical experience. Conversely, “Fame” at the Theatre Royal Plymouth receives a more lukewarm reception, regarded as a competent but ultimately forgettable staging of a once-iconic story.