All winners will be announced at the awards ceremony at The Brewery, London on September 15, 2019 which will be streamed live on The Stage’s Facebook page.
Best Actress in a Play – sponsored by Audible
- Liv Hill for Top Girls at the National Theatre, London
- Urielle Klein-Mekongo for Yvette at the Bush Theatre, London
- Lauren O’Leary for The Awkward Years at The Other Room, Cardiff
- Bea Webster for Mother Courage at the Albion Electric Warehouse, Leeds
Best Actor in a Play – sponsored by Audible
- Jamal Ajala for ear for eye at the Royal Court, London
- Stuart Campbell for The Hunt at the Almeida Theatre, London
- Patrick Gibson for Sweat at the Donmar Warehouse and the Gielgud Theatre, London
- Ivan Oyik for Blue/Orange at the Birmingham Repertory Theatre, Birmingham
Continue reading “Nominees for The Stage Debut Awards 2019”
Emma Williams reconfirms her star status in this 80s musical adaptation of An Officer and a Gentleman at Leicester’s Curve Theatre ahead of a UK tour
“Way to go, Paula! Way to go!”
From its opening number (which provides an unsettling reminder that Status Quo actually had a decent tune or two), this major new musical of An Officer and a Gentleman shimmers with a sense of real quality. Some might demur at the notion of a movie remake peppered with a random assortment of pop songs from the 1980s but the resulting piece of theatre is highly enjoyable.
This is down to the integrity and craft of Nikolai Foster who rightly takes this source material (book by Douglas Day Stewart and Sharleen Cooper Cohen from his original screenplay) seriously. We may be in 1982 but there’s no jokey visual gags about that decade here, just an over-riding sense of life on the edge for the working class community of Pensacola, Florida, looking on at the US Naval Aviation Training Facility that dominates their city. Continue reading “Review: An Officer and a Gentleman, Curve”
Gypsy Queen by Rob Ward, Hope Mill
How My Light Is Spent by Alan Harris, Royal Exchange
Narcissist in the Mirror by Rosie Fleeshman, Greater Manchester Fringe Festival – WINNER
Narvik by Lizzie Nunnery, Home
Cendrillon, Royal Northern College of Music, RNCM
La Cenerentola, Opera North, the Lowry
The Little Greats, Opera North, the Lowry
The Snow Maiden, Opera North, the Lowry – WINNER Continue reading “The 2017 Manchester Theatre Awards winners in full”
“Smile a rented smile, fill someone’s glass
Kiss someone’s wife, kiss someone’s ass”
Ria Jones’ extraordinary history with Sunset Boulevard might well be entitled The Norma Conquests – from originally workshopping the role of Norma Desmond for Andrew Lloyd Webber (music) and Don Black and Christopher Hampton (book and lyrics) in 1991 to her headline-grabbing stint as Glenn Close’s understudy in last year’s ENO staged concert version of the show to finally getting to play the leading role in her own right on this UK tour, premiering at Leicester’s Curve, some 26 years later.
And was it worth the wait? Jones certainly is making the most of her well-deserved moment, offering a different skillset for her markedly different interpretation. Jones is undoubtedly the better singer, the lushness of her voice soaring effortlessly to the impassioned heights of the score. And she’s a different kind of actress, offering a brasher, more manic kind of energy to this former movie star caught up in a fantasy world when a young screenwriter (Danny Mac) accidentally offers hope to her faded career. Continue reading “Review: Sunset Boulevard Curve, Leicester”
“Pour a double gin,
here’s to your double chin”
Back when Adam Sandler was, you know, tolerable, he did rom-coms like 1998’s The Wedding Singer and where even moderately successful films go, musical theatre adaptations surely follow. Tim Herlihy adapts his own screenplay along with lyricist Chad Beguelin, and original music comes from Matthew Sklar, and the result is a perfectly competent piece of musical theatre which is fun without ever really being fantastic.
Opening at Leicester’s Curve ahead of a 8 month long UK tour (dates and venue at the end of this review), you can see where Nick Winston’s production has made its key decisions – Francis O’Connor’s set has its eye on quick get-outs and so Jack Henry’s video projections do a lot of the heavy lifting in setting the 80s milieu. And the casting mixes West End reliability with TV name recognition, the cherry on the cake of course being Ruth Madoc. Continue reading “Review: The Wedding Singer, Curve”
“It’s still familiar to me
Sends a thrill right through me”
It’s a funny thing, returning to a show you know so well even if you haven’t seen it for maybe 2 decades. My abiding memory of seeing Grease as a child was Shane Richie corpsing after accidentally knocking the bosom of a co-star and then being singularly unimpressed that this happened every single night. And since then, I’ve never felt the need to see it on stage, whether on tour or in its intermittent West End appearances where, if memory serves, it became one of the guiltier culprits of stunt casting.
But Nikolai Foster’s musical theatre experience and tenure at Leicester’s Curve as its AD piqued my interest and quenched my doubts sufficiently to make the trip to Rydell High and chang chang changitty chang sha-bop, darn me if it isn’t a rather good time. It does require you putting a measure of scepticism to one side in the show’s questionable message about changing who you are but it does also make you think about who we change for – it’s easy to forget that Danny has already fallen for Sandy by the time she decides to transform, is she changing for him, for herself, or to fit into the Pink Ladies? Continue reading “Review: Grease, Curve”
“Please God, help me not to make a complete fool of myself,”
Wipers – a garbled mispronunciation of Ypres – is a hugely fascinating piece of writing, co-produced by Leicester’s Curve, Watford Palace and Coventry’s Belgrade theatres and pleasingly playing in all three cities. For it is inspired by the real-life story of Khuddadad Khan, the first South Asian soldier to be awarded a Victoria Cross for his bravery in the First World War, where no less than a million South Asian soldiers were active on the battlefield, previously relegated to a footnote in history but rightfully brought to our attention here.
Wounded by an attack in the first battle of Ypres that killed most if not all around him, Khan’s resilience held off enemy fire to long enough to protect the remnants of the British forces, among them the four soldiers of this play. Seeking refuge in a barn, they await hoped-for reinforcements, the noises of (the unseen) Khan’s weapon periodically discharging echoing around as they cleave together over a long night. But there’s not just four men, they’re a British officer and three Indian soldiers, with all the tension and torque that brings. Continue reading “Review: Wipers, Curve”
“I may be in love but im not stupid”
To the tune of ‘Legally Blonde’
Legally Blonde as a musical
Has worked before on and off-West-End
Now it’s gone to the East Midlands
To Leicester’s Curve, and just go.
Nikolai Foster’s directing it,
He’s changed some things that you may approve
Others are not so successful
“Anything can happen if you let it”
It is becoming increasingly clear that a show isn’t a show if a Strallen isn’t involved, even as an usher, and it is now the turn of Zizi to ascend to the role of leading lady, taking the title role in a mammoth UK tour of Mary Poppins which has started at the Curve in Leicester and which is already booking through to this time next year. And it isn’t too hard to see why such confidence has been invested in the future of the show when it is as stupendously good a piece of musical theatre as this.
I never got round to seeing the show in the West End – Julian Fellowes’ book building on P.L. Travers’ original books as well as the Disney film and composing duo Stiles + Drewe adding to the iconic score by the Sherman Brothers – and it’s an age since I saw the film so it really did have all the glorious impact of being a fresh new show for me but even if you did manage to see it, the lure of this fresh new production ought to tempt you along to one of the cities where it is playing to relive the joy. Continue reading “Review: Mary Poppins, Curve”
“I tell what ought to be the truth“
I’ve only been to the Studio at Leicester’s Curve Theatre a couple of times but I’ve never seen it done up this much like a proper theatre with a balcony and all but such it is for Nikolai Foster’s production of A Streetcar Named Desire, his first at the venue where he is now Artistic Director. Tennessee Williams’ classic receives a rather traditional, if youthfully inclined, interpretation here which thus can’t help but pale a little in comparison to Benedict Andrews’ extraordinary reimagining for the Young Vic last year.
The challenges of the space are clear though in the sometimes challenging acoustics of the studio which, combined with an unstinting commitment to heavy accents, poses audibility issues throughout the production. Which is a shame as it really does look good – Michael Taylor’s set design perfectly evokes the faded grandeur and stifling intimacy of the French Quarter and Guy Hoare’s lighting suggests all of its carnivalesque atmosphere with its twinkling fairy lights and sultry red hues. Continue reading “Review: A Streetcar Named Desire, Curve Studio”