The lineup has been announced for week 7 of Leave A Light On.
West End stars John Owen-Jones, Janique Charles, Ashford Campbell and Alistair Brammer will perform live-streamed performances from their own homes.
Here is the full schedule for week seven: Continue reading “News: line-up for week 7 of Leave A Light On”
To show their support for the NHS, The Barricade Boys perform ‘Bring Him Home’ from Les Misérables whilst in self isolation, with special guests Alfie Boe, Ramin Karimloo, John Owen-Jones, David Shannon, Alistair Brammer, Fra Fee & Rob Houchen
Heart vector created by starline – www.freepik.com
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”
My top 10 Losing My Minds post has been one of the most popular on the site (the most recent spike sadly being because of Marin Mazzie’s untimely passing – RIP), so I thought I would repeat the exercise with what is arguably Company’s most iconic song ‘Being Alive’.
“Somebody make me come through”
1. Alice Fearn
An unexpected favourite mainly due to the combination of its achingly beautiful strings (arranged by Ben Goddard) and the delicacy of Fearn’s beautiful delivery.
2. Raúl Esparza
This. In all its ferocious power, I just can’t imagine it being better done by a man.
Continue reading “Someone to hold you too close – 10 takes on Being Alive to celebrate Company’s opening”
“What man could ask for more”
To Do. To Be. – The Music of Tim Prottey-Jones is Prottey-Jones’ third CD, an album collecting together music from a range of sources for which he has written – stage musicals After the Turn, Equally and The First Last Kiss, musical films Down Flew the Doves and Standing on the Edge and lastly one play with music Exes. And though he is a performer himself (currently to be found in Kinky Boots), he’s gone down the tried and tested route of going through his address book to get an impressive roster of talent to perform his songs.
So the album opens with Kinky co-star Amy Lennox’s sweet but determined ‘Have you ever?’, former Once colleagues Declan Bennett and Arthur Darvill rock out gently on ‘Kiss till you can’t kiss anymore’ and ‘Leaving for you’ respectively and from the same show, Zrinka Cvitešić gives a gorgeously tender vocal performance in ‘I for one’. That Prottey-Jones can write a decent song is in no doubt and in the case of Laura Pitt-Pulford’s ‘Nothing’ and Jacqueline Hughes’ ‘I’ll Be With You Always’, exciting musical theatre leaps from the speakers, the potential here is considerable. Continue reading “CD Review: To Do. To Be. – The Music of Tim Prottey-Jones”
An early birthday from my Aunty Jean saw me get to revisit those wonderfully swiveling seats at the Royal Albert Hall for the matinée of Follies in Concert, a semi-staged version of the Sondheim show directed by Craig Revel-Horwood for just two performances with an all-star cast, featuring none other than Diane Lockhart herself, Christine Baranski. Having never seen the show before, I have nothing to compare it too but after hearing the score played by the City of London Philharmonic Orchestra and conducted by the inimitable Gareth Valentine, I suspect I may never need to hear another version!
The set-up of a reunion concert for an old theatrical troupe as per James Goldman’s book works wonders for the show and especially this production. There seemed to be real joy and appreciation amongst the company as they watched their colleagues each take their turn to reprise their former glories – Anita Harris and Roy Hudd’s light-hearted skip through ‘Rain on the Roof’, Stefanie Powers’ glamorous swish through ‘Ah, Paris!’, Lorna Luft’s quirky take on ’Broadway Baby’, Betty Buckley raising the roof with a soaring ‘I’m Still Here’ – whether the onlookers were acting or not, seeing them give each turn hugs, kisses and standing ovations felt real. Continue reading “Review: Follies in Concert, Royal Albert Hall”
“Why God? Why today?”
I wasn’t the hugest fan of Miss Saigon first time round as my review from then clearly attests but I’m never one to be entirely closed-minded (though it may not often seem that way…) so when the opportunity to take a friend who had not previously been popped up, I made a return visit to the Prince Edward Theatre. The show is still basking in the glow of recently winning 9 What’s On Stage awards and it is clear that it is attracting a younger and atypically passionate crowd (for a West End show at least).
That passion cuts both ways though as the overexcited group behind us couldn’t hold back from the flash photography and the young woman in front of me was less enthused than the rest of her party and spent most of the show on Facebook. It makes for a different kind of theatre experience when you’re having to do battle with that kind of behaviour but given my continued lack of engagement with the storyline of this particular musical theatre behemoth, it was as much a distraction for me as anything. Continue reading “Re-review: Miss Saigon, Prince Edward Theatre”
Year after year, I bust my ass writing about the hundreds of shows I see yet the most popular posts, without fail, are all about the hotness 😉
So let us do the annual ritual of casting off the Daley-like coyness for a while and appreciating the visual pleasure that theatre can bring.
The results from 2010, 2011, 2012 and 2013 can be found here for your delectation. And so without further ado, let’s take a deep breath, admire Harington’s abs, and dive into this year’s selection, in no particular order.
Continue reading “Leading Man of the Year 2014”
“I don’t need to ask for much this Christmas”
One of the more worthwhile festive releases this year is also pleasingly one of the more interesting. The Make A Difference Trust brings together the British entertainment community and its audiences to raise funds to support people living with HIV and AIDS and with The West End Goes MAD For Christmas, has brought together a host of new musical theatre champions to offer up a compilation of Christmas songs that offer a fascinating alternative to the age old carols and standards that proliferate at this time of year.
And producers Nikki & Joe Davison at Auburn Jam Records have done a brilliant job in matching composers to performers across the eight songs, curating pre-existing tracks and new, and shining a light on some serious talent. The plaintive simplicity of Stuart Matthew Price’s self-penned ‘This Christmas’ is characteristic of much of his oeuvre of classic songwriting, Gina Beck’s crystalline soprano dances beautifully around the timeless melody of Alexander S Bermange’s ‘Praying For You’ and Nadim Naaman‘s ‘A Soldier’s Christmas’ treads an equally emotive path, sung charmingly by Gerónimo Rauch and Naaman himself.
Continue reading “Album Review: The West End goes MAD for Christmas”