An all-Scottish line-up of stars of stage and screen will perform in Scots in the City on Sunday 29 November. The concert, held in early celebration of St Andrew’s Day (30 November), will be livestreamed from the Phoenix Arts Club in the heart of London’s West End.
The show is produced by West End leading performers Kieran Brown (The Phantom of the Opera, Wicked, Les Misèrables) and Shona White (MAMMA MIA!, Les Misèrables, Chess), who set up Scots in the City to promote the very best of Scottish culture outside the motherland, with a focus on Musical Theatre. This is the third show in their concert series. Continue reading “News: Scots in the City returns online for St Andrew’s Day”
In collaboration with Nimax and The Theatre Café, West End performer Hiba Elchikhe is thrilled to announce a brand-new musical theatre based web series: Out Of The Darkness, Into The Spotlight.
Bringing a little bit of glitter to the grey, this three-episode series hopes to not only entertain, but shine a light on the performers who are keeping the West End alive, even during lockdown. Continue reading “News: Hiba Elchikhe launches Out Of The Darkness, Into The Spotlight”
Chichester Festival Theatre has announced their Autumn plans and it looks to be a good’un. It includes:
– Sarah Kane’s Crave, directed by Tinuke Craig and starring Erin Doherty and Alfred Enoch, staged in a socially distanced Festival Theatre for 10 performances and live streamed to digital audiences
– for Christmas, a series of festive concerts (including one with Rebeccas Caine and Trehearn), followed by Chichester Festival Youth Theatre in a new version of Pinocchio by Anna Ledwich, directed by Dale Rooks
– Michael Ball, Sheila Hancock and Patricia Routledge in conversation with Edward Seckerson
– cabaret and comedy including Frisky & Mannish, The Black Cat Cabaret, Barely Methodical Troupe, Rich Hall, Suzi Ruffell, Russell Kane and Rosie Jones
– music ranging from a celebration of Sondheim with West End stars, to a song recital by Kate Royal, a new concert from Joe Stilgoe and a portrait of Rachmaninoff with Henry Goodman and Lucy Parham Continue reading “September theatre news, the UK version”
Jamie Lloyd’s reinvention of Evita at Regent’s Park Open Air Theatre proves a storming success
“I could find job satisfaction in Paraguay”
If this was the production of Evita that was forever touring the UK, then we could all be a hell of a lot more enthused about the future of UK theatre. Bill Kenwright might have the business side locked down with dull predictability but at the Open Air Theatre, Jamie Lloyd is unleashing a torrent of creative genius which proves inordinately exciting to witness.
He offers up a complete reimagining of the Andrew Lloyd Webber and Tim Rice musical and one which feels sparkingly fresh in every single aspect. The open bleachers of Soutra Gilmore’s design which turns our focus to the human relationships here, the striking physicality of Fabian Aloise’s choreography with its haunting screaming faces and way-cool domino effect points to societal trauma and most crucially, Lloyd allows the shadow of populist politics to loom large. Continue reading “Review: Evita, Open Air Theatre”
Fascinating but shocking history, and beautiful theatre. Don’t miss The Great Wave at the National Theatre
“It doesn’t mean…It doesn’t mean, that”
Francis Turnly’s new play The Great Wave explores a fascinating but shocking slice of history, severely underexplored in this country. And Indhu Rubasingham’s production thereof is one which puts East Asian experience, and actors, front and centre, a pleasing but too-rare sight to see in any of our theatres, never mind the National.
Its history covers the tense relationship between North Korea and Japan, notably in the late twentieth century when the former carried out a series of abductions of citizens of the latter, but all concerned hushed up the story. Turnly focuses down to the micro through the experience of one family but also amps up the macro, as past Japanese imperialism and the grotesqueries of the North Korean regime are also placed under the microscope. Continue reading “Review: The Great Wave, National Theatre”
“Today is the day we’ve waited for”
The main impetus for finally getting round to booking for the West End transfer of Our Ladies of Perpetual Succour was to balance all the testosterone from the (excellent) all-male Barber Shop Chronicles, And where better to look than the Our Ladies convent in the West of Scotland and the hugely personable story that its wayward student body tell here. You can read my review from the National Theatre and I haven’t much more to add than to say congratulations to them all on the Olivier Award and get booking for one of the more fun parts of the West End right now.
Running time: 1 hour 50 minutes (without interval)
Booking until 2nd September
Best New Play
Harry Potter and the Cursed Child – Palace
Elegy – Donmar Warehouse
The Flick – National Theatre Dorfman
One Night in Miami – Donmar Warehouse
Best New Musical
Groundhog Day – The Old Vic
Dreamgirls – Savoy
The Girls – Phoenix
School of Rock – New London
Yerma – Young Vic
The Glass Menagerie – Duke of York’s
This House – Garrick
Travesties – Apollo Continue reading “2017 Laurence Olivier Awards nominations”
“Fuck the singing, we’re just gonna go mental”
A hit in Edinburgh last summer and arriving at the National after a UK tour, National Theatre of Scotland and Live Theatre co-production Our Ladies of Perpetual Succour is a riotous shot in the arm for musical theatre and all the better for it. An adaptation of a 1998 Alan Warner novel The Sopranos scripted by Lee Hall (he of Billy Elliot amongst others) and directed by Vicky Featherstone (she of the Royal Court), the remainder of the run is perilously close to selling out so I’d buy your ticket now and then come back and read the review!
Our Ladies is a convent school in Oban, on the west coast of Scotland, and its choir are on their way to Edinburgh for a singing competition. But it is less Mendelssohn on their mind than “getting mental”, as their concoctions of cocktails disguised in flasks and lemonade bottles attest and having got themselves booted out of the contest, proceed to do just that, with a view to returning to Oban to try their luck in their local club – The Mantrap – where, rumour has it, a crew of submariners have temporarily put down anchor. Continue reading “Review: Our Ladies of Perpetual Succour, National”
“Dancing, oh so beautifully
Dancing, dancing together
Dancing, oh as if in a dream”
It’s not often I leave a play with penis envy – giant golden cock hat envy to be precise – but that’s how I felt leaving the newly-opened Dorfman Theatre (the National’s Cottesloe getting a much needed facelift) after the blisteringly good fun of Here Lies Love. (I also felt sad that I didn’t get a glowstick, it was only later I realised they weren’t being handed out to all and sundry.) But by and large, the abiding feeling was one of huge exhilaration, akin to the endorphin rush of a good night’s clubbing, for if you’ve booked correctly, that’s what you get here.
You can sit down to see the show, the tiered seating of the theatre remains intact, but the real route into Alex Timber’s ingeniously immersive production is by getting a dancefloor ticket, whereby one is thrust right into the midst of this utterly idiosyncratic musical which tells of the rise and fall of Imelda Marcos, former First Lady of the Philippines entirely through the medium of dance music from David Byrne and Fatboy Slim. It is so thoroughly audacious a concept that it is hard to fathom how it even came into being, never mind emerge as the huge success it is here. Continue reading “Review: Here Lies Love, National Theatre”