The curtains are lifted once again for Curtains as it is available to watch online again
“I’m sorry but this theatre is in quarantine”
I enjoyed the Kander & Ebb musical Curtains when it made its long-awaited West End debut over the festive period, and was saddened when its ambitious UK tour had to be curtailed once lockdown was enforced. The producers had filmed a performance from early in the run though for their archive and have generously made it available to watch through their website here. And for the completist in me, it has turned out well as it meant I have the opportunity now to see Ore Oduba in the role that Andy Coxon covered for the West End stint.
Paul Foster’s production is great fun, full of wryly comic performances (Samuel Holmes is a standout here), stunning dance (Alan Burkitt – swoon!) and musical theatre gloriousness (you’ll wonder how Rebecca Lock isn’t a bigger name). And I don’t know about other people, but I’ve been craving escapist entertainment much more than anything too serious and Curtains certainly fits the bill (it’s all the more impressive considering it was indeed early in the run for them). Move quickly and watch it tonight!
A Kander & Ebb premiere in the West End you say? Curtains makes its bow at the Wyndham’s Theatre and I had an arrestingly good time with it
“Shall we all observe a moment of silence…
to match the audience’s response to Jessica’s first number”
There’s no denying that theatre loves shows about theatre and on the Charing Cross Road right now, you’ve got a play within a play at the Garrick right next to a musical about a musical at the Wyndham’s. Curtains ups the ante though by throwing in a murder mystery as well for good measure and the result is a something of a good old-fashioned romp, blessed with that rarest of things, a barely-known Kander & Ebb score. Having only received a few drama school productions (I saw it at Arts Ed)
The show dates back to 2006 but had a tricky road to completion as original book writer Peter Stone died before finishing it, Rupert Holmes stepping in to rewrite, and Fred Ebb also passed away a year later, with Kander and Holmes completing the lyrical content. Curtains managed a relatively successful run on Broadway but for whatever reason, it never made the leap across the Atlantic (into the West End at least) until now, as Paul Foster’s touring production steps neatly into a scheduling gap to provide an alternative cup of Christmas cheer. Continue reading “Review: Curtains, Wyndham’s Theatre”
I revisit long-runners The Mousetrap, Les Misérables and Wicked, and come to a decision (of sorts) about the future of this blog
“Here’s to you and here’s to me”
Well 2019 has been an interesting year so far and one full of significance – I’ve turned 40, this blog has turned 10 and it’s all got me in a reflective mood. Personally, professionally, is this what I want to be doing? Do quote a Netflix show I haven’t even seen, does all this bring me joy…? Over the last couple of weeks, I’ve revisited a few long-running shows in the West End to consider what cost longevity.
The longest running show in the West End is The Mousetrap – 66 years old with over 27,000 performances and their answer to keeping going is to not change a single bit – has the show even ever cast a person of colour? My limited research suggests not… On the one hand, it’s a policy that does seem to have worked and that record is a mighty USP, although does the number of empty seats at the St Martin’s that afternoon suggest a waning of interest finally? Continue reading “Blogged: long-running shows and long-running blogs – what does the future hold”
Best Actor in a New Production of a Musical
Andrew Polec, Bat Out of Hell, London Coliseum
John McCrea, Everybody’s Talking About Jamie, Sheffield Crucible
John Partridge, La Cage Aux Folles, UK Tour
Jon Robyns, The Wedding Singer, UK Tour
Michael C. Hall, Lazarus, King’s Cross Theatre
Robert Fairchild, An American in Paris, Dominion Theatre
Best Actor in a New Production of a Play
Andrew Scott, Hamlet, Almeida Theatre
Arinzé Kene, One Night in Miami…, Donmar Warehouse
Brendan Cowell, Life of Galileo, Young Vic
Conleth Hill, Who’s Afraid of Virginia Woolf?, Harold Pinter Theatre
Lucian Msamati, Amadeus, National Theatre
Nicholas Woodeson, Death of a Salesman, UK Tour Continue reading “2017 BroadwayWorld UK Awards Shortlist”
“She screamed, I think – it was hard to hear”
Surrounded by the Sounds – the music of Tim Prottey-Jones is the second of actor/writer Prottey-Jones’ albums featuring a whole array of his West End pals, but the third that I’ve reviewed (see reviews of More With Every Line and To Do. To Be.) It features songs from two of Prottey-Jones musicals – Once Bitten and After The Turn – and has a decidedly more pronounced rock feel to it than either of his other collections.
As such, it didn’t quite tickle my fancy in the way that I might have liked, especially since To Do. To Be. had impressed me. And it’s not that this is a collection of bad songs, they’re just not my cup of tea. Such guitars, much rock, so not wow. Even when the tempo slows a little into ballad territory, as with Michael Xavier’s ‘Chance In A Lifetime’ or Jodie Jacobs’ ‘Colour Me’, it is still just too monotonely guitar-heavy for my liking.
“Cos I love you, still”
Elliot Davis may be best known to fans of musical theatre as the co-writer of Loserville but his career has stretched over several musicals and other projects which have seen him collaborate with a wide range of songwriters and his CD Collaborations – The Songs of Elliot Davis cherry-picks a collection of thirteen songs from his back catalogue. Excerpts from musicals sit alongside out-and-out pop songs and are performed by a cracking cast of West End favourites, including Julie Atherton, Michael Xavier and Scarlett Strallen, all in aid of Teenager Cancer Trust.
It is undoubtedly an eclectic mix and on first listen, its sheer diversity may seem a little disarming. Two songs written with lyricist Anthony Drewe capture this perfectly – Kirsty Hoiles’ understated rendition of ‘Still’ is a thing of shimmering beauty yet the bubbly ’24 7′, performed by the trio of Caroline Sheen, Scarlett Strallen and Melissa Jacques, sounds like it is aiming to become a gay club classic with its relentlessly catchy hook. But the songs definitely bear replaying, lyrical ingenuity mixes with musical dexterity and it is a potent blend. Continue reading “CD Review: Collaborations – The Songs of Elliot Davis”
“Ohmigod youguys! Ohmigod!”
So after an impromptu visit to see Legally Blonde a couple of weeks ago as a favour to a friend, my scheduled return to the show took place this weekend in order to see how the new cast members are settling in, with the first major cast change since the show opened. Since I saw it so recently (and I saw so much this week too…), I’m linking to my thoughts on seeing it again here instead of repeating them: this post will focus mainly on the newbies.
Simon Thomas has taken over as Wagner, which marks a change from casting a more famous name in this role as has been done previously despite it not really being a major role at all. I remember being surprised first time round at how little the character is featured in the show, given that Duncan James’ face was plastered all over the publicity. He does well in what is quite a thankless role really, but I did enjoy his performance and his handsomeness definitely helps! Carley Stenson did well as Margot with a more endearing and sweet take on this girl, having already developed a great chemistry with the other Delta Nu girls but Siobhan Dillon just exudes confidence as Vivienne, seeming as if she’s been in the ensemble for ages with a great performance both acting-wise and in her singing, especially that whopper of a note in the Legally Blonde Remix at the end. Continue reading “Review: Legally Blonde The Musical (cast change), Savoy Theatre”