Award season kicks into another gear with the arrival of the nominations for the 2020 Olivier Awards – & Juliet, Fiddler on the Roof and Dear Evan Hansen lead the musicals pack, Death of a Salesman and Rosmersholm the plays
As ever, Laurence giveth and he taketh away and it’s all subjective anyway.
The weird category shuffle that often happens has landed on ‘Best Entertainment or Comedy Play’ and ‘Best Family Show’ this year, leaving Emilia and Fleabag in a weird place that isn’t ‘Best New Play’ (last year they were divided into ‘Best Entertainment and Family’ and ‘Best New Comedy’.
I had zero desire to see Fiddler on the Roof so can’t pass comment there but can’t help wishing the supporting role in a musical nominations weren’t quite so dominated by DEH.
& Juliet’s director Luke Sheppard could rightfully feel snubbed, given the wealth of recognition the rest of the production has received.
The nominees for the 9th annual Mousetrap Awards are announced
These awards are voted for by young people, anyone aged 15-29 is invited to have their say as to who should pick up the trophies at the ceremony on Sunday 19th April. And while usual suspects Dear Evan Hansen, Waitress and & Juliet are leading the pack, it is nice to see such love for Small Island here too.
Mousetrap Theatre Projects strive to make London’s theatre scene accessible to young people, low-income families, mainstream and SEND state schools, and those with additional needs.
Michael Ball and Alfie Boe get back together for Back Together, their third album as a duo, which I ultimately find hard to resist
“The more you refuse to hear my voice The louder I will sing”
First they were Together, then they were Together Again and now they’re Back Together – there’s no separating Michael Ball and Alfie Boe as their double act has become an extraordinary success, managing that all-too-rare-nowadays feat of actually selling albums.
And you can see why, especially in a spell-binding trio of musical theatre classics early on. The unexpected harmonies speckled throughout ‘Wishing You Were Somehow Here Again’, the delicate interplay in Fiddler’s ‘Sunrise, Sunset’ and the always rousing ‘Circle Of Life’ (with the assistance of Shaun Escoffrey) all imbue the familiar material with real interest, making the case for Ball & Boe as more than just your average crooners cranking out a new album. And the inclusion of a Pasek & Paul song is predictably de rigueur for a 2019 release, even if neither man quite has the suppleness of voice or diction to really get away with the energy of ‘The Greatest Show’. Continue reading “Album Review: Michael Ball & Alfie Boe – Back Together”
The nominations for the 20th Annual WhatsOnStage Awards have been announced and I have a thought or two #justiceforAnneHathaway
As a publicly nominated affair, the What’s On Stage Awards always throw up an interesting set of nominations, as fanbases engage alongside theatregoers to produce an idiosyncratic reflection on the year. This year though, the nominees for the nine creative categories (Choreography, Costume Design, Direction, Graphic Design, Lighting Design, Musical Direction, Set Design, Sound Design and Video Design) have been decided by an independent panel of industry experts appointed, which has resulted in some pleasing inclusions for the likes of Equus and Small Island.
Acting-wise, the focus does land a little heavily on the more famous names (plus ça change) and that Supporting Actress in a Musical category is super-crowded (the Dear Evan Hansen mothers would have been a shoo-in for me there). My only real point of issue comes with the categorisation for the & Juliet players – are you really going to nominate Oliver Tompsett as a lead and then put Cassidy Janson in the supporting category? Did you not see the show, or get any of its message at all?!
There’s much to like about Dear Evan Hansen at the Noël Coward Theatre, not least a brilliant lead performance from Sam Tutty
“Will I ever be more than I’ve always been?”
After seeing Dear Evan Hansen, you realise that its title can be taken two ways. It’s the salutation on a letter that precipitates a world of trouble for the awkward teenager and those around him as per Steven Levenson’s effectively contemporary book. But it also ultimately emerges as an affectionate form of address, troublingly so as the show latterly pulls its punches around some of the harder-hitting topics that it raises.
High-school senior Evan’s life is crippled by social anxiety. His hard-working single mum barely has time for him, he’s got no mates to speak of, and his therapist keeps setting him homework. Then when one of his classmates Connor Murphy dies by suicide, a chink of light unexpectedly cracks through his depression, as an unlikely chain of events leads him to claiming that they were best friends in order to emotionally support the grieving family. Continue reading “Review: Dear Evan Hansen, Noël Coward Theatre”