23 West End actresses who have played Elphaba or Glinda in Wicked have reunited to perform a stunning rendition of the show’s ‘For Good’ to support the Make a Difference Trust Covid 19 Emergency Appeal Fund to support those in the theatre community suffering hardship because of the coronavirus crisis.
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Best Actor in a New Production of a Musical
Alex Wadham, The Full Monty: The Musical, Old Joint Stock Theatre, Birmingham
Giles Terera, Hamilton, Victoria Palace Theatre
Jamal Kane Crawford, Fame, UK Tour
Jamie Muscato, Heathers The Musical, The Other Palace/Theatre Royal Haymarket
Louis Maskell, The Grinning Man, Trafalgar Studios
Marc Antolin, Little Shop of Horrors, Regent’s Park Open Air Theatre
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.
Across its two discs and twenty-three tracks, there’s an awful lot of whimsy to Alexander S Bermange’s latest compilation album Wit and Whimsy and not quite enough wit to sustain it. Bermange is a composer who has had as much success writing comic songs for radio as he has in straight-up musical theatre (the two shows of his that I’ve seen –The Route to Happinessand Thirteen Days – were both part of festivals).
“We drink water from a dipper, You drink champagne from a slipper”
Christmastime is often one for traditions and one of the better theatrical ones has proven to be the big musicals that Sheffield Theatres produce. From Me and My Girlto My Fair Lady to a never-better Companyand last year’s Anything Goes that went on to tour, the outgoing Artistic Director Daniel Evans has proved a master at big-hearted, large-scale productions that skimp on nothing to create some of the best musical theatre the country has to offer.
This year sees Jerome Kern and Oscar Hammerstein’s Show Boat as Evans’ final show (as AD at least) and it is an undoubted success, a fitting festive farewell. It’s a brave choice too, an unwieldy beast of a story based on Edna Ferber’s novel about the backstage drama onboard the Mississippi show boat Cotton Blossom, using the performing troupe as a prism through which to view several decades of momentous change in the USA from the late 1800s. Continue reading “Review: Show Boat, Crucible”
“The sage shall play the knave tonight, The maid shall misbehave tonight”
Howard Goodall’s fruitful relationship with the National Youth Music Theatre has long been a mutually beneficial one and it was they who premieredThe Kissing-Dance, his musical adaptation of Oliver Goldsmith’s She Stoops To Conquer back in 1998. What is truly remarkable is just who happened to be in that year-group – Sheridan Smith, Gina Beck, Simon Thomas, Alex Hassell, Michael Jibson…the list goes on. And 10 years on, they gathered once again to record Howard Goodall’s score.
The show received its professional premiere at the Jermyn Street Theatre in 2011 and in a neat twist, saw Gina Beck reprise the very same role of the headstrong Kate Hardcastle and Ian Virgo also return to the cast but graduating from scallywag Tony Lumpkin to impecunious but irresistible Charles Marlow. And having that familiarity with the score meant it was a delight to go back and delve into its melodic wonderment once again. It is recognisably Goodall to be sure but with a distinct pastoral bent to it which has a pleasingly differentiating effect. Continue reading “Album Review: The Kissing Dance or She Stoops To Conquer (2008 Cast)”
“Have you just lost your way? ‘Repressed confused or gay?’”
Just a quickie for this, a late-hours performance late in the run in a vilely hot tiny auditorium perched atop no-one’s favourite West End theatre. I hadn’t been Above the Arts before and I remain unconvinced that it is an essential addition to our theatres, especially in this heat. Fortunately, Kirk Jameson’s production of Jimmy Roberts and Joe DiPietro’s off-Broadway stalwart I Love You, You’re Perfect, Now Change was good enough to almost take my mind off it.
With old Avenue Q friends Julie Atherton and Simon Lipkin joined by Gina Beck and Samuel Holmes, this is about as good as musical theatre casting gets, especially for a fringe production and the quality of this quartet smoothed over most of the weaknesses of the show. A revue-ish song cycle type of thing, it whips through a set of loosely connected vignettes about the various trials and tribulations between a man and a woman. Continue reading “Review: I Love You, You’re Perfect, Now Change, Above the Arts”
Truth be told, after a dodgy time with The Woodlanders in an English Lit elective at uni, I’ve pretty much kept my distance from Thomas Hardy. So it might be a little surprise that I ventured to the wilds of West Berkshire and the Watermill Theatre to see this adaptation of Far From The Madding Crowdbut Jessica Swale is the kind of delightful director who is worth travelling for, plus she has a predilection for casting Sam Swainsbury in things which means she is my lobster 🙂
This actor-musicianish production is really cleverly staged as Philip Engeheart’s versatile and movable set design evokes an appropriate sense of rural charm with witty and ingenious touches allowing memorable representations of key events such as the harvesting of the wheat and untold business with sheep and lambs (where even this hardened soul had to admire the skill of the puppetry). With Catherine Jayes’ music underscoring much of the action, the pastoral atmosphere feels just right. Continue reading “Review: Far From The Madding Crowd, Watermill”
One of the more worthwhile festive releases this year is also pleasingly one of the more interesting. The Make A Difference Trust brings together the British entertainment community and its audiences to raise funds to support people living with HIV and AIDS and with The West End Goes MAD For Christmas, has brought together a host of new musical theatre champions to offer up a compilation of Christmas songs that offer a fascinating alternative to the age old carols and standards that proliferate at this time of year.
And producers Nikki & Joe Davison at Auburn Jam Records have done a brilliant job in matching composers to performers across the eight songs, curating pre-existing tracks and new, and shining a light on some serious talent. The plaintive simplicity of Stuart Matthew Price’s self-penned ‘This Christmas’ is characteristic of much of his oeuvre of classic songwriting, Gina Beck’s crystalline soprano dances beautifully around the timeless melody of Alexander S Bermange’s ‘Praying For You’ and Nadim Naaman‘s ‘A Soldier’s Christmas’ treads an equally emotive path, sung charmingly by Gerónimo Rauch and Naaman himself.