News: the Shaftesbury Theatre announces all-star concert Hello Harry!

The Shaftesbury Theatre has announced Hello Harry! – A Celebration of 40 Years at Stage Door – an online concert to celebrate the incredible 40 year career of Harry Gabriel, our night Stage Door Keeper. The concert will stream on YouTube on the 15th July at 7:30pm, with an incredible guest list of performers.

All of these performers are connected with the Shaftesbury and with Harry. The concert will feature stories and songs from shows that have been on our stage over the last 40 years and beyond. Continue reading “News: the Shaftesbury Theatre announces all-star concert Hello Harry!”

News: National Theatre at Home Phase 3

The National Theatre has today announced further productions that will be streamed live on YouTube every Thursday at 7PM BST via the National Theatre’s YouTube channel as part of National Theatre at Home; the new initiative to bring content to the public in their homes during the Coronavirus outbreak. The titles announced today include productions from partner theatres which were previously broadcast to cinemas by National Theatre Live. Continue reading “News: National Theatre at Home Phase 3”

News: Alan Bennett’s Talking Heads returns to TV

Along with the rest of theatreland, I’m already over-excited and impatient for all of these.

Filming begins today on new productions of Alan Bennett’s critically acclaimed and multi-award-winning Talking Heads monologues, which first aired on BBC Television in 1988 and 1998. Ten of the original pieces will be re-made with the addition of two new ones written by Bennett last year. They are produced by Nicholas Hytner’s London Theatre Company and Kevin Loader.

The monologues which will air on BBC One in the coming months are as follows: Continue reading “News: Alan Bennett’s Talking Heads returns to TV”

TV Review: Flesh and Blood

Imelda Staunton plays a blinder in ITV’s Flesh and Blood but for a thriller, there’s not much that is actually that thrilling apart from Russell Tovey’s chest hair

“I never ever dreamt it would end like this”

The myriad ways in which we can now consume television content means that programmers can find themselves in a bit of a bind, searching for the best way to ensure their show breaks through in such a crowded marketplace. Just look at The Split, releasing the entirety of its second series online whilst also going for a weekly broadcast. Stripping a show over a week for four consecutive nights, as ITV did with Flesh and Blood, may seem like a happy medium between those two modes but in this day and age, I don’t it matches either. 

Written by Sarah Williams (Becoming Jane; Small Island), Flesh and Blood is a lush family drama, edging towards thriller territory, as a body is discovered in this sleepy Sussex beach town. And in true winding narrative style, we don’t know who has carked it. Francesca Annis’ Vivien is quietly surprised to find new love with Stephen Rea’s Mark but her adult children don’t think she’s been playing the grieving widow for long enough and once he moves into their former childhood home, hackles are truly raised, conveniently allowing them to turn from the drama in their own lives.  Continue reading “TV Review: Flesh and Blood”

Film review: Downton Abbey (2019)

Baron Fellowes of West Stafford stretches not a single muscle in pumping out more of the same in the tiresomely dull Downton Abbey the movie

“I want everything to stop being a struggle”

To crib the tagline of a certain jukebox musical (here we go again…) you already know whether you’re a fan of Downton Abbey the movie. By any stretch of the imagination, it is just an extension of the TV series and so is guaranteed to maintain that same level of comfort that you have always got from the Granthams et al, whether that’s good or bad.

For me, it means a thoroughly unchallenging film and one which proves increasingly dull. (For reference, I’ve only ever seen (some of) the Christmas Day episodes as my parents are fans.) The hook of the film is that it is now 1927 and King George V and Queen Mary are coming to stay for the evening and heavens to Betsy, we’re all of a dither. Continue reading “Film review: Downton Abbey (2019)”

The Curtain Up Show Album of the Year 2019 nominees

You can now vote for the Best London Cast Recording, Best Broadway Cast Recording and Best Solo Album here. Then fill in your details and click Vote and one lucky voter will win £100 worth of Theatre Tokens!

Best UK Cast Recording
& Juliet – Original London Cast Recording
Company – 2018 London Cast Recording
Follies – 2018 National Theatre Cast Recording
Heathers (Original West End Cast Recording)
The Secret Diary of Adrian Mole Aged 13 ¾ – 2019 Original London Cast
Tina – The Tina Turner Musical Original Cast Recording

Best American Cast Recording
Beetlejuice (Original Broadway Cast Recording)
Hadestown (Original Broadway Cast Recording)
Jagged Little Pill (Original Broadway Cast Recording)
Moulin Rouge (Original Broadway Cast Recording)
Oklahoma! (2019 Broadway Cast Recording)
Tootsie (Original Broadway Cast Recording)

Best Solo Album
Cassidy Janson – Cassidy
Ramin Karimloo – From Now On
John Owen-Jones –Spotlight
Ben Platt – Sing To Me Instead
Jon Robyns – Musical Directions
Hayden Tee – Face to Face

Album Reviews: Company / Follies / Mythic

A trio of album reviews cover the (relatively) recently released cast recordings of Company, Follies and Mythic

“One more souvenir of bliss”

I adored Marianne Elliott’s reinterpretation of Stephen Sondheim and George Furth’s Company on my many visits and so the news of a cast recording was of course ecstatically received. And perhaps inevitably it doesn’t quite live up to the thrill of seeing it live but maybe that’s because the production is still so fresh in my mind. I mean we’re only talking a 4 instead of a 4.5…

© Brinkhoff Mogenburg

I swear Patti LuPone’s ‘Ladies Who Lunch’ was different every time I saw it but this version here is as good as any, with the glorious fullness of her voice pointedly sharpening its wit. Her contributions to ‘The Little Things We Do Together’ are inspired, Jonny Bailey’s ‘Not Getting Married’ is breathlessly affecting and the warmth of Rosalie Craig’s character and voice infuse the whole experience with real quality.  Continue reading “Album Reviews: Company / Follies / Mythic”

Review: Paddington 2 (2017)

I succumb easily to the charms of Paddington 2 and Hugh Grant having the time of his life

“Exit bear, pursued by an actor”

In a year when sequels have outperformed expectations (at least mine anyway), I should have heeded the signs that Paddington 2 heralded back last winter that sequels were ‘in’. Paul King’s follow-up to his 2014 warm-hearted original, reintroducing us to our ursine Peruvian hero, occupies a similar space of resolutely British family films that are a cut above. 

Written by King and Simon Farnaby, the film is unafraid to take its audience seriously and for every adorably sweet sequence, there’s genuine peril and even darkness in there too. Hugh Grant is the main antagonist, an actor called Phoenix Buchanan who has been reduced to making dog-food adverts and his ne’er-d-well ways see Paddington framed for a crime he did not commit. Continue reading “Review: Paddington 2 (2017)”

2018 Laurence Olivier Awards nominations

An interesting set of nominations have been announced for the 2018 Laurence Olivier Awards. Perhaps predictably, the headline grabbers are Hamilton with their record 13 nominations, and The Ferryman which received 8. I’m pleased to see Follies and Angels in America represent a strong showing for the National with 10 and 6 respectively, and also lovely to see Everybody’s Talking About Jamie close behind with 5. Beyond delighted for The Revlon Girl too, my play of the year.

Naturally, not everything can get nominated and for me, it was most disappointing to see Barber Shop Chronicles miss out on any recognition. And with Hamilton crowding out the musicals categories, there was sadly no room for The Grinning Man, Romantics Anonymous and The Secret Diary of Adrian Mole (although I’m unsure of the Menier’s eligibility with regards to SOLT). And I think Victoria Hamilton (Albion). Philip Quast (Follies) and Louis Maskell and Julian Bleach (The Grinning Man)  are entitled to be a bit miffed.

How do you feel about these nominations? And what do you think should have been nominated instead?

Continue reading “2018 Laurence Olivier Awards nominations”

2018 What’s On Stage Award nominations

It’s that time of year again and getting in early with the announcement of their nominees is What’s on Stage. Voted for by the public, they’re often skewed a little towards the bigger ‘names’ but this year’s set of nominations are relatively controversy-free. There’s something a little odd about the way that regional theatre has its own separate category but its actors appear in the main ones – I feel like regional theatre productions should either be considered entirely in or out, rather than this halfway house.

Naturally, big shows rule the roost – 42nd Street and Bat out of Hell lead the lists with 8 nominations apiece – and they’ve even found a way to shoehorn in Hamilton by nominating it for the two new categories of Best Cast Recording (which somehow includes Les Mis??) and Best Show Poster, thus being able to get round it not actually being open yet and grabbing the requisite headlines once it does, inevitably, win.

BEST ACTOR IN A PLAY SPONSORED BY RADISSON BLU EDWARDIAN
Andrew Garfield, Angels in America
Andrew Scott, Hamlet
Bryan Cranston, Network
David Tennant, Don Juan in Soho
Martin Freeman, Labour of Love

BEST ACTRESS IN A PLAY
Eve Best, Love in Idleness
Imelda Staunton, Who’s Afraid of Virginia Woolf?
Olivia Colman, Mosquitoes
Natalie Dormer, Venus in Fur
Tamsin Greig, Labour of Love Continue reading “2018 What’s On Stage Award nominations”