Fourth Wall Live and The Hippodrome Casino London are thrilled to announce a series of over 40 shows at the Hippodrome Casino this winter. The season runs from 18 November every week for 5 weeks and will include two shows nightly at 7.00pm and 9.00pm.
The Barn Theatre has announced the cast for their sixth virtual concert, The Barn Theatre Presents: The Music of Dominic Powell, which will celebrate the work of musical theatre composer Dominic Powell (Cases).
The concert, which will be hosted by Barn Theatre producer Jamie Chapman Dixon, is the sixth edition of the Barn Theatre in Cirencester’s virtual concert series, The Barn Presents:, which celebrates the work of British musical theatre writers.
The Barn Theatre has announced that Busted and Son of Dork co-founder James Bourne will join an all-star West End line up for their third virtual concert, The Barn Theatre Presents: The Music of Elliot Davis, which will celebrate the work of Loserville composer Elliot Davis.
American Idiot West End and UK Tour Casts sing a Green Day Medley for the Barn Theatre and The Ben Kinsella Trust
Donations can be made to the Barn Theatre at http://www.barntheatre.org/sob, calling 01285 648255 or texting SAVEOURBARN 10 to donate £10 to 70085, texts cost the donation value plus one standard rate message.
The Barn Theatre in Cirencester have announced a new Shakespeare series which sees the Bard’s beloved monologues reimagined to fit into modern day lockdown amid the coronavirus pandemic. The series will release a new monologue every weekday to the Barn Theatre’sFacebook, YouTube and Twitter accounts, beginning 20th April 2020.
A diverse trio of album reviews, featuring Anthony Ramos – The Good & The Bad, Aimie Atkinson – Step Inside Love and Jenna Lee-James – On The Edge
With credits that include the original Broadway cast of Hamilton, the most recent remake of A Star Is Born and Usnavi in the forthcoming screen adaptation of In The Heights, Anthony Ramos can officially be described as hot stuff. And of course he’s had time to write and release his debut album The Good & The Badtoo, which emerges as a genre-hopping delight that draws on the melting pot of influences that is New York as much as it does his Puerto Rican heritage. A biographical concept album of sorts, Ramos’ tales of growing flow effortlessly whether through the r’n’b pop of stand-out ‘Mind Over Matter. the hip-hop-inspired storytelling of the title track or the gorgeously smooth balladry of ‘Isabella’ and ‘Figure It Out’. Continue reading “Album reviews – Anthony Ramos – The Good & The Bad / Aimie Atkinson – Step Inside Love / Jenna Lee-James – On The Edge”
Cult status is a funny thing, depending on which side of the coin you fall, it can either rescue diamonds in the rough or just further expose them. For me, Cool Rider comes down heavily on the latter though it must be said, there’s plenty who would argue the former, not least those who contributed over £12 grand to the Kickstarter to get this recording made. Hey, it’s their money right?!
Cool Rider is perhaps better known as the stage adaptation of ill-fated film sequel Grease 2. Staged in a concert version in 2014, the popularity of which saw it return for a week of performances at the Duchess Theatre, the fans are clearly there but quite for what, I couldn’t really say. The plot is little more than an retread of the original but with the roles reversed but the main problem lies in an inconsistent and uninspired score.
With no less than 10 different contributors named, and the legacy of an absolute classic to live up to, Lee Freeman’s orchestrations valiantly try to elevate the 80s take on 60s pastiche but finds that no time period can make it sound good. It’s awkwardly dated and cringe-worthily written – “we’re gonna rock, we’re gonna roll, we’re gonna bop, we’re gonna bowl” is no “rama lamma lamma ka dinga da dinga dong” that’s for sure…
More crucially, there’s too little charm to balance what comedy there is. Ashleigh Gray does a commendable job as the go-getting Stephanie, the title track is strong and her side of climactic duet ‘(Love Will) Turn Back The Hands of Time’ is excellent but opposite her, Aaron SIdwell is lacklustre in a largely insipid part. Reece Shearsmith’s romp through a sex-ed class in ‘Reproduction’ is another example where the recording falls flat, though I can appreciate that prior knowledge of the scene might well make it work.
So Cool Rider might well be one for the fans, for whom seeing and hearing the show live will have been a dream. For the more casual listener, there aren’t many more worse things you could do.
“Those on the outside clamouring to get in, those on the inside dying to get out”
The story of Edith Ewing Bouvier Beale and her daughter Edith Bouvier Beale was immortalised in a 1975 documentary called Grey Gardens. As part of the American aristocracy, insofar as their connections with the Kennedys (their niece/cousin Jackie would become Jacqueline Kennedy Onassis), they held a certain fascination but the discovery that they were living together in squalor, their fortune squandered and their East Hampton mansion overrun with cats, made them appallingly compelling subjects and consequently elevated them to cult status.
That it took someone ‘til 2006 to turn it into a musical feels like a surprise, but Doug Wright’s book, Scott Frankel’s music and Michael Korie’s lyrics are more thoughtfully considered than one might expect – reflected in the success of its Tony-winning Broadway transfer from Off-Broadway – and so it’s only fitting that it is now added to director Thom Southerland’s roster of musical theatre hits at the Southwark Playhouse. Continue reading “Review: Grey Gardens, Southwark Playhouse”