Best Actor in a New Production of a Musical
Andy Nyman, Fiddler on the Roof, Menier Chocolate Factory
David Hunter, Waitress, Adelphi Theatre
David Ricardo-Pearce, Kiss Me, Kate, The Watermill Theatre
Kayi Ushe, Kinky Boots, UK Tour
Tom Bennett, Only Fools and Horses: The Musical, Theatre Royal Haymarket
Tyrone Huntley, The View UpStairs, Soho Theatre
Best Actress in a New Production of a Musical
Amara Okereke, Oklahoma!, Chichester Festival Theatre
Audrey Brisson, Amélie The Musical, UK Tour
Caroline Sheen, 9 to 5 The Musical, Savoy Theatre
Rebecca Trehearn, Kiss Me, Kate, The Watermill Theatre
Samantha Pauly, Evita, Regent’s Park Open Air Theatre
Sheridan Smith, Joseph and the Amazing Technicolor Dreamcoat, London Palladium Continue reading “2019 BroadwayWorld UK Awards Shortlist”
“Don’t treat us girls like a poor relation
Made in Dagenham, in Dagenham – it seems like a no-brainer but it’s quite the statement of intent from incoming Artistic Director at the Queen’s Theatre Hornchurch, Douglas Rintoul. It’s also a bit of a departure for a director who has previously won awards for writing hard-hitting monologues about gay Iraqi refugees (the exceptionally good Elegy) but taking a West End musical that didn’t quite become the hit it deserves and taking it home, refining it into an actor-musician production along the way, turns out to be quite the treat.
I can’t deny that I loved the show when it played at the Adelphi – heck, I saw it four times (review #1, review #2, review #3, review #4 of the final night) and I believe it deserved better treatment from the critics. But the past is the past and coming to the show with fresh eyes, and ears, too Richard Bean’s book and David Arnold’s score, it responds powerfully to the new treatment here (co-produced by the Queen’s and the New Wolsey Ipswich where it heads next), smaller in scale obviously but more intimate too, rawer in its emotions to an ultimately devastating effect. Continue reading “Review: Made In Dagenham, Queen’s Theatre Hornchurch”
“Nor doth this wood lack worlds of company”
Surtitled A Play For The Nation, Erica Whyman’s production of A Midsummer Night’s Dream for the RSC has fully embraced the communal spirit that the best theatre can summon and across its UK tour over the next few months, will undoubtedly prove a wonderful tribute for the 400th anniversary of Shakespeare’s death. For at each stop across the land, different local amateur theatre companies will take on the part of the Rude Mechanicals and local primary schools will make up the numbers of Titania’s fairy train, getting their moment to shine in a repurposed final scene.
It’s a rather lovely way to share the warmth of this most loveliest of plays and in Whyman’s hands, it really does succeed. Key to its inclusiveness is the relocation to 1940s Britain and a design from Tom Piper that subtly evokes the Tower of London poppies installation on which he collaborated, the suggestion of a society pulling together permeating every aspect of the show, even Oberon’s fairies muck in as live musicians. And the social disruption of the time allows for an interesting reading of the text which, while emphasising English bumptiousness over sexuality, is witty throughout. Continue reading “Review: A Midsummer Night’s Dream – A Play For The Nation, Royal Shakespeare Theatre”
“Why don’t you get out of my life and let me make a new start?”
Cast and crew members across the West End may not agree but I do find it surprising that more shows haven’t gone for the variation of Sunday evening performances in their schedules. Particularly with tourists, it’s a ready-made and captive audience with little else to do in this bustling city and by the looks of the Palace Theatre last night, keen as mustard. That said, it can be something of a trial going out on a Sunday night when a work-filled Monday morning is looming around the corner.
For me though, the chance to see The Commitments one more time before it closes its doors after a run that has lasted more than two years was enough to tempt me out and I’m glad I did as it really is good fun. Technically speaking, it is less of a musical than I would strictly consider, the narrative quickly gives way to a mini-concert at the show’s end but with music as good as this, and an actor-musician cast as talented as this, such crowd-pleasing antics feel entirely forgivable. Continue reading “Re-review: The Commitments, Palace”
“Why do whores only sing in musicals?”
Showcasing the work of a lyricist is a different prospect from that of a composer, something that is immediately apparent from glancing at the cover and booklet of Love, Lies & Lyrics – The Words of Lesley Ross, the latest new musical theatre CD emerge from the nurturing cocoon of SimG Records. This album features music from 4 different writers, taken from over a dozen musicals, with the now customary array of West End stars – over 30 in number here – so it can’t help but be highly eclectic as a collection, in something of a similar vein to Robert Gould’s collection from last year.
The diversity of this approach certainly has its benefits, especially as man of the songs are around the 2 minute mark, as it means the album can bounce around wryly comic observation songs like ‘Pick A Ticket!’ and ‘Him in 23B’ to the more heartfelt but still story-led balladry of Nigel Richards’ ‘And In My Heart’ and Annalene Beechey’s ‘Song for Someone’. If I had to pick, Madalena Alberto’s plaintive lullaby ‘I Will Be There’ is the highlight of the record – its gorgeously delicate emotion coming from a perfect confection of lyric, music and performance. Continue reading “CD Review: Love, Lies & Lyrics – The Words of Lesley Ross”
“The Irish are the blacks of Europe”
In the ongoing search for the perfect recipe for a West End musical, The Commitments has done better than most since opening last October. Here, a hot-shot director (Jamie Lloyd) has been mixed with material that has already been a book and a film (written by Roddy Doyle, directed by Alan Parker) and tinkers with the jukebox format (using iconic US soul classics) to create an engaging piece of entertainment. The main surprise comes with how little story there actually is – the premise is simply that young gun Jimmy Rabbitte decides to put a band together and that is pretty much it.
So in place of narrative twists and turns, we get the slick movement of Soutra Gilmour’s ingeniously inventive set design; instead of depth of character, there’s a wide-ranging songbook which gives everyone a turn on the mike or a chance to rock out a solo and thus express themselves through music. It’s a curious interpretation which takes a little time to really gel, the opening 20 minutes or so struggles to make its mark as there’s little music and the surprising thinness of Doyle’s writing is at its most exposed – for all the time Jimmy spends in his house, his ma gets an appallingly small amount to say. Continue reading “Review: The Commitments, Palace”