The lineup has been announced for week 7 of Leave A Light On.
West End stars John Owen-Jones, Janique Charles, Ashford Campbell and Alistair Brammer will perform live-streamed performances from their own homes.
Here is the full schedule for week seven: Continue reading “News: line-up for week 7 of Leave A Light On”
Les Misérables – The Staged Concert is released on digital download, along with a bonus featurette which is highly amusing
“Minutes into hours, and the hours into years”
Striding over the barricades to alleviate lockdown tedium, Les Misérables – The Staged Concert has now been released on digital download. The release will raise funds for performers, musicians and the NHS as well as incurring additional donations (an extra £5 for every purchase) from The Mackintosh Foundation which will go to the charity Acting for Others, the Musicians Union Coronavirus Hardship Fund and Captain Tom Moore’s Walk for the NHS fund
You can actually watch Bringing It Home – A Les Miz Stay at Home Special below but I thought I’d give you fair warning as it has its pros and cons. Continue reading “Lockdown review: Les Misérables – The Staged Concert”
To show their support for the NHS, The Barricade Boys perform ‘Bring Him Home’ from Les Misérables whilst in self isolation, with special guests Alfie Boe, Ramin Karimloo, John Owen-Jones, David Shannon, Alistair Brammer, Fra Fee & Rob Houchen
Heart vector created by starline – www.freepik.com
A varied song selection means that Hayden Tee’s new album Face to Face should appeal to a wide range of musical theatre fans
“In a world of wondering, suddenly you know”
Fresh off a year in the sensible shoes of Miss Trunchbull in Matilda, New Zealand actor and singer Hayden Tee celebrates the world of musical theatre – and his path within it – with the intriguing new album Face to Face. Arranged by Nigel Ubrihien and assisted by the lushness of by a symphony orchestra, this collection covers Kander & Ebb to Jason Robert Brown and much more inbetween.
At just 9 tracks long, I might have had a touch of initial disappointment that there’s some heavily familiar material here. Les Misérables is represented twice with ‘Stars’ and ‘Empty Chairs at Empty Tables’, and the ubiquitous ‘Till I Hear You Sing’ from Love Never Dies. All are sung most competently, the controlled power at the top of Tee’s range is certainly impressive but on an entirely selfish note, I’m just tired of hearing these songs. Continue reading “Album Review: Hayden Tee – Face to Face”
John Owen-Jones’ fourth solo album Spotlight doesn’t demonstrate the boldest choice of material but the quality of his voice remains peerless
“Now I know what they’re saying in the music of the parade”
In all honesty, a quick glance at the track-listing for John Owen-Jones’ new album Spotlight doesn’t exactly inspire huge excitement for me. The emphasis seems to be on the tried and tested, the less charitably inclined might say ‘Mother’s Day audience’ as stalwarts like Les Mis (‘I Dreamed A Dream’), Andrew Lloyd Webber (‘Love Never Dies’) and The Greatest Showman (‘From Now On’) pop up once again, alongside such inspirational ever-presents as ‘You Raise Me Up’ and ‘The Prayer’.
Admittedly, this comes from someone who does get a little jaded from the number of albums I am privileged to get to review, but there’s also something about that lack of adventurousness that is inescapable. There’s nothing particularly individual about the arrangements here so, as well sung as they are, the likes of ‘You Raise Me Up’ and ‘From Now On’ sound pretty much like too many other versions that have been recorded. Where he does deviate from the norm, on ‘Climb Every Mountain’, the results are…mixed. Continue reading “Album Review: John Owen-Jones – Spotlight”
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.
So Andrew Lloyd Webber’s decision to release new anthology Unmasked is a canny one in that respect (read my review here), tapping into the desire to have a nicely pleasant set of musical theatre tunes to pop on in the car. And as with any compilation, it’s as much about what hasn’t been included as what has, that stands out. Continue reading “How to solve a problem like a compilation – my alternative Unmasked”
Rather fittingly, my first ever visit to the magnificent feat of civil engineering that is Cardiff’s Wales Millennium Centre was for new musical Tiger Bay (Y Sioe Gerdd). And not just any musical, one based in and on the very area where it is playing, the docklands of Tiger Bay at the turn of the century, when the industrial revolution sent shudders through every level of society. Socio-political unrest not being known for getting the crowds in though, book-writer Michael Williams has fashioned a multi-stranded narrative with truly epic ambitions.
So there’s coal men fighting to improve working conditions, African immigrant labour complicating the picture by undercutting them, racism emerging as an ugly thorn, child labour being abused, suffragettes agitating for the vote, and the richest man in the world (the Third Marquess of Bute) who has turned to crystal balls to try and find his missing son. What emerges is a prototype vision for a multicultural society in all its myriad complexities and inequalities, connected in an all-too-human way by circumstance and some stonking great choruses. Continue reading “Review: Tiger Bay, Wales Millennium Centre”
After over 178 productions and over 28,000 audience members through the door since moving to the Bedford in 2015, Theatre N16
is looking for a new home from December 2017. Whilst they search, you can support the folks there by donating here
Theatre N16 was set up in 2015 to be a stomping ground for new companies and a place to try out new work, offering affordable deals on rehearsal and performance space. It has offered a ground-breaking, risk-free deal to all companies, which 95% of our guests have taken, guaranteeing that creatives do not leave our space owing the venue money. This is all under the auspices of an Equity Fringe Agreement, with Theatre N16 one of the few London venues to have signed up to the deal to guarantee pay to all creatives working for the venue.
Continue reading “Round-up of news and treats and other interesting things”