As we move towards the year end, so award season gets into full swing and What’s On Stage have now revealed their nominations celebrating everyone who works in theatre apart from sound designers and musical directors. As ever, these awards tend to work around which fanbase can weaponise the strongest and so there’s lots of love for shows which might not necessarily be troubling many other shortlists…
Still, am liking the recognition for Milly Thomas and Dust, Es Devlin’s luminous set work for Girls & Boys, and Six and The Grinning Man getting into the cast recording category (though can’t quite work out how Come From Away fits into there as well…). And it’s a bit sad that the way their eligibility period works means that Hamilton comes up against Company, making the supporting actress/actor categories ridiculously difficult to choose between.
You can vote here until 31st January, and winners will be announced on 3rd March.
Continue reading “2019 What’s On Stage Award nominations”
Did I like this?
I think not.
“This world should be notified.
It’ll be a bumpy ride.
Thanks to Bonnie and Clyde!”
My first work-in-progress show at The Other Palace in the form of Bonnie and Clyde and as it is a developmental work, I ain’t gonna say a thing!
Part of The Other Palace’s rebranding has been to establish it as an incubator for new musical theatre pieces and so it has been opening its doors for work-in-progress performances of shows like Heathers and Joybubbles.
And in a couple of weeks we get Bonnie and Clyde – music by Frank Wildhorn, lyrics by Don Black and a book by Ivan Menchell – which flopped on Broadway despite the best attempts of stars Laura Osnes and Jeremy Jordan. And rather excitingly, for this production, we get the talents of Evelyn Hoskins and Jamie Muscato in the leading roles. Continue reading “Cast announced for Bonnie and Clyde”
“The Black bird has landed”
It’s only taken me, ooh, a couple of years to get round to watching Cilla, a 2014 ITV miniseries written by Jeff Pope, in which time the small matter of Cilla Black’s passing has made it a more poignant piece. My main reason for watching though, its arrival on Netflix aside, was to finally catch up with Sheridan Smith’s portrayal of the Liverpudlian light entertainment behemoth, back in the days when she was just a Scouse lass called Priscilla White.
Pope’s script definitely has a touch of the rose-tinted about it but there’s no denying the amazing energy of Liverpool’s music scene in the 1960s that comes across in the first two episodes. Though she has a job as a typist – her mother proudly proclaims “the first in the family to be considered suitable for office work” – Cilla dreams of being a singer and is making quite the name for herself on the club circuit, building a following through club performances with upcoming bands such as a quartet called The Beatles. Continue reading “TV Review: Cilla”
“A man lost in time”
It’s no secret that I’m a big Ivo van Hove fan, I’ve been to New York and Amsterdam several times to see his work as regular readers will know, so booking for his latest show to hit London – Lazarus – was a no-brainer. At the same time though, I have to say that the music of David Bowie has played little part in my life, so a musical continuing the story of his 1976 film The Man Who Fell To Earth and based on his songs doesn’t actually carry the same appeal that I might normally have with a van Hove show.
Of course, the shock news of Bowie’s passing as the show opened in New York this past winter lends Lazarus an especial charge, featuring as it does songs from his later albums and songs that were written for this project, among some of the last he ever penned. To an outsider though, it makes for strange experience with a strong sense of mood prevailing over a defined narrative progression, Enda Walsh co-writing a book with Bowie that is labyrinthine in its own fractured, hallucinatory way. Continue reading “Review: Lazarus, King’s Cross”
|(c) Will Hazell
Tickets are now on sale for the 2016 Vault Festival which is bringing together over 100 productions from across the widest possible spectrum of the arts. Running from 27th January until 6th March, there’s six weeks of programming from family-friendly work to late-night parties, with comedy, cabaret, theatre and much more inbetween. Continue reading “2016 Vault Festival – tickets now on sale”
“No… it can’t be… is it gravity I am feeling?”
It’s been a goodly time coming, just over two years since it opened actually, but the Original Cast Recording of The Light Princess is finally here. Finely crafted by writers Tori Amos and Samuel Adamson with the original cast from the National Theatre production and recorded entirely under studio conditions, this double CD a triumphant achievement. It simultaneously acts as a perfect tribute to a much-loved show (one I saw five times during its too-short run #1, #2, #3, #4, #5), it also advances the score, refining its musicality into a more intense yet accessible experience.
Right from the opening bars of the ‘Prologue: Once Upon A Time’, Katherine Rockhill’s piano playing sounds amazing and is rightfully forefronted here as the cornerstone of Amos’ wide-ranging compositions, the lushness of the strings sound pretty special too. And with Rosalie Craig’s astonishing performance as Althea – the light princess herself – liberated from the constraints of this most physically demanding of roles (both for her and for us too, goggling at the inventiveness with which her floating was essayed), her vocal interpretation deepens into something even more affecting, impossible as it may seem to anyone who saw her amazing work onstage. Continue reading “CD Review: The Light Princess (Original Cast Recording)”
“There’s beauty in the breaking of things”
Despite sounding like a lost novel by Gabriel García Márquez, The House of Mirror and Hearts is actually something a lot closer to home, although no less rare, an original British musical. Written by Eamonn O’Dwyer and Rob Gilbert with music and lyrics by O’Dwyer too, it is the tale of a household torn apart by grief, where secrets have been held unspoken for nearly a decade, and resentments allowed to fester into toxic antipathy. The arrival of a nerdish lodger threatens to upset the fragile balance but it is far from clear if this will bring release to the Keanes or just another seven years bad luck and misery.
Developed by Perfect Pitch and co-produced with Aria Entertainment, it is clear that much love and care has gone into nurturing this piece of musical theatre into life, in all its challenging, angular beauty. O’Dwyer’s score has a pleasingly complex bent to it – those who judge musicals by their instant hummability will be left (mistakenly) disappointed – full of intensely unexpected harmonies and contrapuntal melodic lines that demand rapt attention and richly reward relistens (head to the Arcola’s website where 8 of the songs can be heard) – the music emerges as a thing of a jagged beauty. Continue reading “Review: The House of Mirrors and Hearts, Arcola”
“Lock your door and hide your daughter”
After the extraordinary success that was In The Heights, the Southwark Playhouse have gone for another American musical theatre import in the shape of 2012’s Dogfight. But whilst expectations were high – something heightened by the auditorium being in the same configuration as for that previous show, the reality fell far short. Peter Duchan’s book, based on the 1991 film of the same name, follows a group of boisterous marines in San Francisco on the night before they’re due to fly out to Vietnam as they look to maintain the (dis)honourable tradition of holding a dogfight.
As we come to realise, their version of a dogfight is distinctly unpleasant, a cruel game played on unsuspecting women and though he is a part of this world of pent-up testosterone and hints of sexual violence, the young Eddie Birdlace soon comes to regret his choice of victim – a sweet waitress called Rose – and tries to make amends, though whether this is because he has fallen instantly in love with her or he has spotted an easy way to get laid on his last night is anyone’s guess. So what is trying to be a sweet love story is overlaid with this troubling sour note throughout. Continue reading “Review: Dogfight, Southwark Playhouse”