An important addition to the theatre award calendar, the winners of the inaugural Black British Theatre Awards can be found below
BEST DIRECTOR FOR A PLAY OR MUSICAL
WINNER – Lynette Linton; Sweat: Gielgud Theatre
Roy Alexander Weise; Nine Night: National Theatre
Nancy Medina; The Half God of Rainfall: Kiln Theatre
WINNER – Tobi Kyeremateng; Babylon Festival: Bush Theatre
SPONSORED BY HARLEQUIN FLOORS
Rachael Nanayonjo; Sleeping Beauty: Theatre Royal Stratford East
Alesandra Seutin; Boy Breaking Glass: Sadlers Wells
WINNER – Shelley Maxwell; Equus: Theatre Royal Stratford East Continue reading “Winners of the 2019 Black British Theatre Awards”
Nowhere near enough charm in this Sweet Charity for my liking. Josie Rourke’s farewell to the Donmar Warehouse is grey rather than silver
“I’m always looking for an emotional experience”
When the light lands just right on Robert Jones’ set for Sweet Charity at the Donmar Warehouse, it sparkles like silver; the rest of the time, it is rather grey. Sadly, that’s pretty much rather true as a whole for Josie Rourke’s production here, her farewell as Artistic Director here.
Those bright spots are dazzling. Debbie Kurup and Lizzie Connolly are superb as Charity’s pals and co-workers Helene and Nickie, dreaming their dreams with real circumspection. Martin Marquez’s velvety smoothness is charm personified as movie star Vittorio Vidal. Continue reading “Review: Sweet Charity, Donmar Warehouse”
I’m opting not to review Sylvia but rather to haul the Old Vic over the coals for a bit of a shambolic handling of the situation
“Time’s up, there’ll be no more waiting”
Hindsight is a great thing but the team at the Old Vic will have to look back at how they handled the difficult genesis of Sylvia and take some severe lessons. Some things were unquestionably out of their control, like the disruption of cast illness, but others were not. The apparent development of the show from a dance-led piece to a full-blown musical did not happen overnight and so to cite that as an excuse for the piece not being ready, to reclassify the production as a work-in-progress midway through the run is disingenuous to say the least, especially when people are still being charged £45 to see it.
It is a piece that is bounding with potential, clicking into a theatre landscape in London which feels unusually switched on at the moment (Misty and Emilia to name but two kicks up its backside), but we do still feel like we’re in rough draft territory here, hence my decision not to review. (It has provoked some strange reactions in the press though – four stars from Billers? Time Out showing their ass about colour-blind casting?) The music by Josh Cohen and DJ Walde and the book by Kate Prince and Priya Parmar both need substantial refinement from its baggy three hours plus, but you can see the work being put in, and which will continue to be put in until Sylvia re-emerges (next year apparently) better equipped to smash that patriarchy.
I make my own suggestions about interpretations of Andrew Lloyd Webber songs that could have been included on his new compilation album Unmasked
“They must have excitement, and so must I”
In a world of Spotify and iTunes and other online music services, compilation albums ought to have died a death. But the enduring success of the Now That’s What I Call Music series puts the lie to that, showing that while the idea of curating your own content is tempting, many of us prefer to let someone else do it for us.
So Andrew Lloyd Webber’s decision to release new anthology Unmasked is a canny one in that respect (read my review here), tapping into the desire to have a nicely pleasant set of musical theatre tunes to pop on in the car. And as with any compilation, it’s as much about what hasn’t been included as what has, that stands out. Continue reading “How to solve a problem like a compilation – my alternative Unmasked”
“Lock the door and stop complaining
Gather ’round and listen well”
Between them, Amber Riley, Beverley Knight and Cassidy Janson have racked up Olivier Awards and accolades aplenty and their mutual respect has led to them joining forces to create musical supergroup Leading Ladies. And working with producers Brian Rawling and Paul Meehan through East West Records (Warner), their debut album Songs From The Stage is about to be released.
Across the 14 tracks of the collection, there’s a variety of approaches as they tackle songs from a wide range of musicals. Each singer gets a couple of solo numbers, and they all chip in with backing vocals on some of those, but the highlights come when the trio sing together. And none more so than on an utterly transcendent version of Carole King’s ‘Will You Still Love Me Tomorrow’ whose close harmonies are goosebump-inducingly extraordinary, the marriage of their voices a perfect alchemy. Continue reading “Album Review: Leading Ladies – Songs From The Stage”
How to respond to a week such as that? Defer to those more fearlessly eloquent, and listen.
Continue reading “Round-up of news and treats and other interesting things”
So much news, about so many exciting women, that I had to put together a second bulletin for this week…
Chief among them is the confirmation of Marianne Elliott’s reworking of Company, featuring the return of the glorious Patti LuPone to the London stage, playing Joanne to Rosalie Craig’s gender-swapped Bobbi. Initial reports suggest less of an interesting queering of the material and more of a straight gender-flip but it still seems set to be a highlight of next autumn. Continue reading “Round-up of news and treats and other interesting things”
“Open your eyes, I got a surprise!”
It was fascinating to revisit Memphis, a show that I enjoyed on seeing but in all honesty, isn’t one I’ve given much thought to since it left the West End after just over a year at the Shaftesbury Theatre (I went back once). I remarked then that David Bryan’s score was “highly tuneful if not instantly catchy” so was surprised that a fair few of the songs had managed to work their way into my subconscious and so provided that ‘ping’ of recognition which is always nice.
It was also interesting to listen to the songs in isolation from the show, as more of them than I remembered felt somewhat disconnected from the narrative, just happy in their sprightly pop song-ness. And thanks to the quality of the cast assembled here – leads Beverley Knight and Killian Donnelly, supported by the likes of Jason Pennycooke, Tyrone Huntley and Rolan Bell plus Claire Machin, it is a consistently enjoyable record to listen to. Continue reading “Album Review: Memphis (2014 Original London Cast Recording)”
“We knew the excitement was bound to begi
When Laura got blind on Dubonnet and gin
And scratched her veneer with a Cartier pin
And I couldn’t have liked it more”
The main reason for getting your hands on the soundtrack to the ITV series The Halcyon is for Beverley Knight’s highly spirited and hugely seductive take on Noël Coward’s ‘Marvellous Party’. I start with this, lest you think that I’m recommending Jamie Cullum to you (he has two tracks on here, specially recorded for the show) – his appeal having long eluded me.
The rest of the album is filled with Kara Tointon’s rather lovely voice sliding over classics from the first half of the twentieth century and Samuel Sims’ original compositions for the 1940s drama. You might not think it’s particularly worth searching out if you didn’t see the show but in all honesty, even if you’re just a bit a fan of the era then it is worth a listen and a download or three. Continue reading “Album Review: The Halcyon (Original Music From The 2017 Television Series)”