Lockdown may have returned but theatres are boldly looking ahead – the David Tennant-starring Good and Six the Musical are moving theatres, Haydn Gwynne is back and The Last Five Years extends at the Southwark Playhouse
CP Taylor’s Good, starring David Tennant, Fenella Woolgar and Elliot Levey and directed by Dominic Cooke, which was due to open this October, has announced new dates for 2021 and a new run at the Harold Pinter Theatre.
Produced by Fictionhouse and Playful Productions, Goodwas originally scheduled to begin performances at the Playhouse Theatre on Tuesday 6th October. Due to the current global situation, the production was postponed and will now preview at the Harold Pinter Theatre from Wednesday 21st April to Saturday 17st July 2021.
Current ticket holders will be given priority for the new dates and do not need to do anything. The point of purchase will be in touch with ticket holders to reschedule or refund their booking. Extra tickets for the new dates for Good at The Harold Pinter Theatrego on sale at 10am, Monday 12 October 2020.Continue reading “News: September theatre news gathers apace”
The Interval Acthas been set up by The Theatre Cafe to keep audiences engaged with productions running in the West End, celebrating their cast, crew and all people associated with your favourite shows! The Interval Act will give you a range of performances from concert style to variety to getting to know your favourite West End show even more. Donations from the small cost to view willgo to the artist and the industry charity, Acting for Others.
First up, there’s a mini-concert from West End star Luke Bayer (Everybody’s Talking About Jamie, Soho Cinders) a West End dance workshop from Jon Reynolds (9 to 5, Kinky Boots), a performance from Broadway star Siobhan Dillon (Sunset Boulevard, Miss Saigon) and a West End dance workshop from Six the Musical star Cherelle Jay.
More acts will be announced throughout June too and tickets for the livestreams will be just £5.
Michelle Visage joins Everybody’s Talking About Jamie and it is just as much fun as you’d imagine
“Tell it like it is but they don’t wanna know it. Life don’t owe you no you owe it”
Having just celebrated its first birthday in the West End (a pleasant surprise to see such a musical thriving there), Everybody’s Talking About Jamie is starting to make the kind of moves that will hopefully see that success continue. Layton Williams will be stepping into Jamie’s killer heels when John McCrea finishes his award-winning turn at the front, and some borderline-stunt casting got me back to the Apollo no worries.
Chucking Michelle Visage into the cast is actually a rather inspired move. Regardless of what you think of her, her friend-to-the-gays credentials are beyond reproach, particularly where drag is concerned. and Miss Hedge is the kind of supporting role that doesn’t pull too much focus while still offering a couple of opportunities to shine. And Visage does seem to have settled right into the company.
Casting my eye over some recent musical theatre album releases: Audra McDonald’s live album Sing Happy, Louise Dearman’s latest collection For You, For Me and the long-awaited cast recording for Everybody’s Talking About Jamie
There are few things as well-designed as Audra McDonald’s thrilling soprano to make you happy, so the title of her new album Sing Happy is apt indeed. Her first live album and her first backed by an orchestra (the New York Philharmonic). the gig was recorded just a few days ago on 1st May and no wonder they were so quick to turn it around.
Whether shimmering through Porgy and Bess‘ timeless ‘Summertime’, proudly getting her life in La Cage aux Folles’ ‘I Am What I Am’ or absolutely nailing She Loves Me’s ‘Vanilla Ice Cream’, McDonald’s velvety textured voice is always so exciting to listen to. And the drama of songs like ‘Never Will I Marry’ sound glorious with the richness of the orchestral backing (conducted by Andy Einhorn).
At last – everyone will be talking about Everybody’s Talking About Jamie as it struts in the West End in fine form
“Go give the boys boners they won’t know what to do with”
WhenEverybody’s Talking About Jamie made its debut in Sheffield earlier this year (here’s my review), hopes were high for a transfer, the news of which took a little time to be confirmed, leaving me worried it would suffer the fate of the gorgeous Flowers for Mrs Harris. But this sparkling new show has arrived in the West End and now sits on Shaftesbury Avenue at the Apollo as a proud piece of new British musical theatre and an equally proud piece of LGBT+ storytelling.
Written by Dan Gillespie Sells (music) and Tom MacRae (book and lyric) and adapted from a BBC documentary, Jamie casts off the archetypal coming out and gay bashing stories (though not completely ignoring them) in favour of a main narrative about an out and proud teen who is insistent that he’s going to his high school prom in drag but only belatedly coming to realise that his determination to be fierce has consequences for those who love him. Continue reading “Review: Everybody’s Talking About Jamie, Apollo”
One of the most profitable television franchises in the UK, a much-loved comedian writing the book, a £6 million budget…there’s clearly considerable heft behind the latest musical to establish itself in the London Palladium. But the marriage of Harry Hill’s bizarre comic sensibility, Steve Brown’s bright if hollow score and the ITV juggernaut that is the X-Factor makes for uneasy bedfellows, Sean Foley’s garish production eschewing any kind of subtlety for the broadest kind of populist swoop.
I Can’t Sing is a show that constantly wants to have its cake and eat it. Faux-Dermot presenter Liam O’Deary gets a laugh by exasperating at one point “I don’t know why you might be charged” when the phone lines have closed, presumably the response “because they continue to make money for the production company” was mixed in previews. The TV show’s heavy reliance on tear-jerking backstories is a running gag yet nothing dispels the myth that that is the way to get noticed on a talent show. Likewise the qualifications of the panel to be judges of a popular music contest are skewered yet they remain feted as a special brand of celebrity. Continue reading “Review: I Can’t Sing, Palladium”