News: Tristram Kenton’s stage archive – the musicals edition

Since it is the season of goodwill to all men, I’m not going to belabour the point that it is a shame that ‘musicals’ have been lumped together as a category here, whereas the likes of Pinter and Kane got their own specials, whither Sondheim, Herman and Tesori. Still, it’s lovely as ever to stretch back over years of musical theatre productions to see some of Tristram Kenton’s most iconic shots for the Guardian:
https://www.theguardian.com/stage/gallery/2020/dec/02/musicals-on-stage-in-pictures-tristram-kenton

Photos: Tristram Kenton

UK theatre casting news – November update

Theatre Royal Bath will reopen on 3 December with a revised performance schedule for Oleanna and Copenhagen, the final two plays in the theatre’s Welcome Back Season.

David Mamet’s provocative  drama Oleanna, directed by Lucy Bailey will star Rosie Sheehy  and Jonathan Slinger, who replaces John Heffernan in the role of John. The play will now run in Theatre Royal Bath’s Ustinov Studio from 3 December to 22 December and again from 4 January to 16 January 2021. Reduced capacity at the Ustinov Studio will allow for an audience of 60 persons per performance.

The November run of Michael Frayn’s multi award-winning  Copenhagen has been postponed until the new year when it will play Theatre Royal Bath’s Main House from 20 January to 6 February 2021.  Directed by Polly Findlay it will star Haydn Gwynne, Philip Arditti, and in a change to original billing of Michael Gould, Malcolm Sinclair.


Following the latest lockdown measures in England, Curve has rescheduled The Color Purple in concert to Monday 1 to Saturday 13 Mar 2021Sunset Boulevard in concert will now open slightly later than originally planned and run Friday 18 Dec – Saturday 9 Jan. Dates for Memoirs of an Asian Football Casual remain unchanged (Monday 25 Jan to Saturday 6 Feb). 

Joining the previously announced Ria Jones as Norma Desmond and Danny Mac as Joe Gillis in Sunset Boulevard will be a host of original company members from Curve’s award-winning 2017 touring production. Molly Lynch will reprise her role as Betty Schaefer, Adam Pearce returns as Max Von Mayerling, Dougie Carter as Artie Green and Carl Sanderson as Cecil B DeMille.

The Sunset Boulevard company will also include Benjamin ChambersOwen ChapondaJoanna GoodwinKristoffer HellströmJames MeunierGemma NaylorJoanna O’HareJessica PaulSam Peggs and Barney Wilkinson.

Led by the previously announced T’Shan Williams as Celie, original company members of Curve’s 2019 production of The Color Purple, including KM Drew BoatengOwen Chaponda, Perola Congo, Danielle Kassarate, Anelisa Lamola, Karen Mavundukure, Rosemary Annabella Nkrumah, Landi Oshinowo, Simon Anthony Rhoden and Jo Servi, will also return to Curve’s stage next year. Due to prior commitments, Danielle Fiamanya is now unable to join as Nettie in the rescheduled performances.

Based on Alice Walker’s Pulitzer Prize-winning novel, performances of this evocative and life-affirming musical will be directed by Tinuke Craig, with a six-piece orchestra led by Musical Director Alex Parker. The team will be joined by Set Designer Alex Lowde and Choreographer Mark Smith

Both productions of Sunset Boulevard and The Color Purple will be lit by Curve Associate Ben Cracknell, with sound design from Tom Marshall.

Memoirs of an Asian Football Casual will see award-nominated Leicester actor Hareet Deol reprise his role as Suf Khan in Dougal Irvine’s drama based on the real life of reformed Leicester football hooligan Riaz Khan, who will also rejoin the cast. Director Nikolai Foster will once again bring the 80s streets of Leicester to life on Curve’s stage, with design from Grace Smart. Lighting Designer Charlotte Burton and Composer Tasha Taylor Johnson also join the show’s production team.


Sheffield Theatres and Evolution Pantomimes have announced the cast for Damian’s Pop–Up Panto! at the Crucible Theatre. Joining legendary Dame, Damian Williams, are comedian, presenter and internet dancing sensation Joe Tracini (CBBC’s The DengineersHollyoaks), West End star Gemma Sutton (Gypsy, Follies, Girl From the North Country), Lucas Rush (Rock of Ages) and Deborah Tracey (Standing at the Sky’s Edge).

A festive fun-sized treat for the whole family, Damian’s Pop-Up Panto! is written and directed by regular pantomime producer Paul Hendy. Sheffield Theatres and Evolution Pantomimes have produced the Sheffield Lyceum pantomime for 14 years. This year, the panto relocates across Tudor Square to the Crucible Theatre.

News: live theatre returns to Leicester

Curve has today announced plans to reopen to the public. The theatre, which was forced suddenly to close its doors to the public on 16 March, will open again this autumn for spectacularly re-imagined, socially distanced concert performances of acclaimed Made at Curve productions, using the building’s unique theatre design.

The Color Purple in Concert 23rd November – 5th December, with T’Shan Williams and Danielle Fiamanya, who won The Stage Debut Award for Best Supporting Actress in a Musical for her role as ‘Nettie’.
Sunset Boulevard in Concert – 14th December – 3rd January,
Ria Jones and Danny Mac will return to star.
Memoirs Of An Asian Football Casual 25th January – 6th February.

By raising the walls between its theatre spaces, Curve will reopen as a 533-seat socially-distanced auditorium, with audiences enjoying live performances from all four sides of the stage, fully realising the ambition of architect Rafael Viñoly’s original design. A triple-revolve, donated by Sir Cameron Mackintosh, will help to transform the space to create an epic experience for audience members. Continue reading “News: live theatre returns to Leicester”

News: #AllTheWebsAStage details announced

All the Web’s a Stageis a streaming initiative consisting of 12 marvellous jam-packed hours of all your favourite performers from the West End and theatre to comedy, drag and magic!

It’s fitting that the free livestream will be held on Thursday 23 April, Shakespeare’s birthday and the date that theatres began their process of restoration after strict censorship in 1661, the last time British theatres were ordered to close for a prolonged period. 

The livestream is raising money for our artistic comrades who have been severely impacted by Covid-19. Whilst we appreciate the government’s initiatives, and the support made available for many self-employed workers, there are still many freelance artists who fall through the cracks of these new government programs. As a result, thousands of artists who are now unable to earn an income are facing the coronavirus crisis with no available financial support.

You can watch the livestream on the Theatre Together website or on the Theatre Together Facebook page this Thursday from midday. Continue reading “News: #AllTheWebsAStage details announced”

Review: Pretty Woman – the Musical, Piccadilly Theatre

Aiimie Atkinson is good but deserves far better than Pretty Woman: the Musical, the blatant cash grab at the Piccadilly Theatre

“Somebody pinch me, this can’t be true”

The publicity for Pretty Woman – the Musical invites, nay begs, you to invoke one of the movie’s iconic catchphrases so let’s have it. Mounting a show in 2020 in which the only roles for women are prostitutes or bitches? Big mistake. Huge. Charging £175 to sit on your front row? Big mistake. Huge. Encouraging the use of a grand piano for anything besides playing? Big mistake. Huge.  

The 1990 film directed by Garry Marshall from J F Lawton’s screenplay scored massive success for a rom-com but much like Grease, it is hard to view the story with a contemporary lens. Determined to view itself as a fairytale (of sorts), it takes the worlds of asset stripping and sex work and whisks them together without taking anything seriously. And Marshall and Lawton’s book for this musical adaptation does the same except with added songs by Bryan Adams (yes, that one) and Jim Vallance. Continue reading “Review: Pretty Woman – the Musical, Piccadilly Theatre”

Review: White Christmas 2019, Dominion Theatre

The reliable charms of White Christmas reappear at the Dominion Theatre

“When what’s left of you gets around to what’s left to be gotten, what’s left to be gotten won’t be worth getting, whatever it is you’ve got left.”

White Christmas is a show that keeps returning and consistently attracts casts that I can’t quite resist. I’ve seen it in Manchester, Leeds and in this very theatre five years ago. So NIkolai Foster’s production holds little surprise for me now, insomuch as any production of White Christmas can surprise. Instead the feeling is more of cocoa-warm comfort, a reliability underscored by fun performances from leads Danny Mac, Dan Burton, Danielle Hope and Clare Halse. Read my 4 star review for Official Theatre here. 

Running time: 2 hours 30 minutes (with interval)
Booking until 4th January

Review: Amélie the Musical, New Wimbledon Theatre

As sweet-sharp as a diabolo grenadine, the touring version of Amélie the Musical impresses me at the New Wimbledon Theatre

“Will there troubles?
I don’t know
Will there be sweet things?
I hope so”

As sweet-sharp as a diabolo grenadine, Amélie the Musical has lost none of its inimitable charm as it gears up for a considerable UK tour. I adored it at the Watermill but the intimacy there left me wondering how the show would fare in the significantly larger houses to which it will be touring. Turns out I need not have worried.

Michael Fentiman’s production has expanded perfectly to fill the space. A few more ensemble members here, a tweak to Madeleine Girling’s canny set design there, and the show has lost nothing of itself or its kooky Parisian whirl. If anything the actor-muso ensemble’s reinterpretation of Daniel Messé’s score sounds even better than before under George Francis’ musical direction. Continue reading “Review: Amélie the Musical, New Wimbledon Theatre”

Review: Amélie the Musical, Watermill Theatre

A sensational adaptation of the film, Amélie the Musical completely captures my heart – see it now at the Watermill Theatre and then touring across the UK

“Maybe she’s just different”

In a week marked by the heartbreaking sight of Notre Dame aflame, the decidedly Gallic charms of Amélie the Musical arrive to offer a soothing balm. The show – music by Daniel Messé, lyrics by Messé and Nathan Tysen and a book by Craig Lucas – didn’t fare so well on Broadway in 2017 but the creatives, along with director Michael Fentiman, have substantially reworked the material to great effect.

The result is something which cleaves much closer to Jean-Pierre Jeunet’s original film Le Fabuleux Destin d’Amélie Poulain in every inch of its spirit. From singing goldfish to licking stage blood off fingers, Elton John cameos to intimidating figs, there’s a wonderful weirdness to the world created here. It’s no wonder that the introverted Amélie struggles at first to find her place in this hyper-real version of Paris. Continue reading “Review: Amélie the Musical, Watermill Theatre”

The 2017 Manchester Theatre Awards winners in full

New play
Gypsy Queen by Rob Ward, Hope Mill
How My Light Is Spent by Alan Harris, Royal Exchange
Narcissist in the Mirror by Rosie Fleeshman, Greater Manchester Fringe Festival – WINNER
Narvik by Lizzie Nunnery, Home

Opera
Cendrillon, Royal Northern College of Music, RNCM
La Cenerentola, Opera North, the Lowry
The Little Greats, Opera North, the Lowry
The Snow Maiden, Opera North, the Lowry – WINNER Continue reading “The 2017 Manchester Theatre Awards winners in full”

The 2017 Manchester Theatre Awards nominations

New play
Gypsy Queen by Rob Ward, Hope Mill
How My Light Is Spent by Alan Harris, Royal Exchange
Narcissist in the Mirror by Rosie Fleeshman, Greater Manchester Fringe Festival
Narvik by Lizzie Nunnery, Home

Opera
Cendrillon, Royal Northern College of Music, RNCM
La Cenerentola, Opera North, the Lowry
The Little Greats, Opera North, the Lowry
The Snow Maiden, Opera North, the Lowry

Actress
Karen Henthorn, Spring and Port Wine, Oldham Coliseum
Lisa Dwyer Hogg, People, Places and Things, Home
Nina Hoss, Returning to Reims, Manchester International Festival
Janet Suzman, Rose, Home Continue reading “The 2017 Manchester Theatre Awards nominations”