BEST FEMALE PERFORMER AWARD:
Marisha Wallace as Effie in Dreamgirls
Natalie Kassanga, as Diana Ross in Motown the Musical
Patsy Ferran as Alma in Summer and Smoke
Jodie Steele as Chandler in Heathers
BEST MALE PERFORMER AWARD:
Jonny Labey, as Scott in Strictly Ballroom
John Pfumojena, as Okot in The Jungle
Kyle Soller, as Eric Glass in The Inheritance
John McCrea, as Jamie in Everybody’s Talking About Jamie Continue reading “Nominees for the 8th annual Mousetrap Awards”
Michelle Visage joins Everybody’s Talking About Jamie and it is just as much fun as you’d imagine
“Tell it like it is but they don’t wanna know it.
Life don’t owe you no you owe it”
Having just celebrated its first birthday in the West End (a pleasant surprise to see such a musical thriving there), Everybody’s Talking About Jamie is starting to make the kind of moves that will hopefully see that success continue. Layton Williams will be stepping into Jamie’s killer heels when John McCrea finishes his award-winning turn at the front, and some borderline-stunt casting got me back to the Apollo no worries.
Chucking Michelle Visage into the cast is actually a rather inspired move. Regardless of what you think of her, her friend-to-the-gays credentials are beyond reproach, particularly where drag is concerned. and Miss Hedge is the kind of supporting role that doesn’t pull too much focus while still offering a couple of opportunities to shine. And Visage does seem to have settled right into the company.
Continue reading “Re-review: Everybody’s Talking About Jamie, Apollo”
Casting my eye over some recent musical theatre album releases: Audra McDonald’s live album Sing Happy, Louise Dearman’s latest collection For You, For Me and the long-awaited cast recording for Everybody’s Talking About Jamie
There are few things as well-designed as Audra McDonald’s thrilling soprano to make you happy, so the title of her new album Sing Happy is apt indeed. Her first live album and her first backed by an orchestra (the New York Philharmonic). the gig was recorded just a few days ago on 1st May and no wonder they were so quick to turn it around.
Whether shimmering through Porgy and Bess‘ timeless ‘Summertime’, proudly getting her life in La Cage aux Folles’ ‘I Am What I Am’ or absolutely nailing She Loves Me’s ‘Vanilla Ice Cream’, McDonald’s velvety textured voice is always so exciting to listen to. And the drama of songs like ‘Never Will I Marry’ sound glorious with the richness of the orchestral backing (conducted by Andy Einhorn).
An affinity for Sondheim comes into play twice, a medley of ‘Children Will Listen’ with South Pacific’s ‘You’ve Got To Be Carefully Taught’ and in a showstopping take on ‘Being Alive’, still manages to surprise with the heights to which she lifts the song. An unalloyed, absolute pleasure. Continue reading “Album Reviews: Audra McDonald – Sing Happy / Louise Dearman – For You, For Me / Everybody’s Talking About Jamie cast recording”
At last – everyone will be talking about Everybody’s Talking About Jamie as it struts in the West End in fine form
“Go give the boys boners they won’t know what to do with”
When Everybody’s Talking About Jamie made its debut in Sheffield earlier this year (here’s my review), hopes were high for a transfer, the news of which took a little time to be confirmed, leaving me worried it would suffer the fate of the gorgeous Flowers for Mrs Harris. But this sparkling new show has arrived in the West End and now sits on Shaftesbury Avenue at the Apollo as a proud piece of new British musical theatre and an equally proud piece of LGBT+ storytelling.
Written by Dan Gillespie Sells (music) and Tom MacRae (book and lyric) and adapted from a BBC documentary, Jamie casts off the archetypal coming out and gay bashing stories (though not completely ignoring them) in favour of a main narrative about an out and proud teen who is insistent that he’s going to his high school prom in drag but only belatedly coming to realise that his determination to be fierce has consequences for those who love him. Continue reading “Review: Everybody’s Talking About Jamie, Apollo”
‘And you’re on holiday?’”
The ways in which the titles of shows are worked into the script are a source of endless amusement and new musical Death Takes A Holiday is no exception, pointing up as it does the ridiculousness of the show’s conceit. Based on the 1924 Italian play La Morte in Vacanza, which has been adapted for the silver screen a few times, most recently in the Brad Pitt stinker Meet Joe Black, Peter Stone and Thomas Meehan’s book tells the story of what happens when Death falls head over heels for an Italian duke’s daughter and so decides to take a couple of days annual leave to follow through,
Posing as a Russian prince, he joins the aristocratic family at their Lake Garda country pile, ostensibly to learn about human emotions but truth is, there’s only one he’s that keen on. And given that the main object of his study, Grazia, is a fan of the moody gothic look – despite being engaged to someone else – there’s little doubt as to whether will be alone when he returns to the day job at the end of the weekend. It’s a curious lack of dramatic imperative for a show running over two hours, especially since there’s the potential to have a proper love triangle, instead Maury Yeston’s expansive score is left to fill the gaps. Continue reading “Review: Death Takes A Holiday, Charing Cross”
Louise Jameson in The Diva Drag at The Hope
Lydia Larson in Skin A Cat at The Bunker
Sarah Ridgeway in Fury at Soho Theatre
Jenna Russell in Grey Gardens at Southwark Playhouse
Best Supporting Female
Lynette Clarke in Karagula at The Styx
Joanna Hickman in Ragtime at Charing Cross Theatre
Sasha Waddell in After October at The Finborough
Fiston Barek in The Rolling Stone at The Orange Tree
Phil Dunster in Pink Mist at The Bush
Paul Keating in Kenny Morgan at The Arcola
John Ramm in Sheppey at The Orange Tree Continue reading “2017 Offie Award Finalists”
“It’s just me and me alone who knows the score”
The Union is dead, long live the Union. Southwark’s Union Theatre has now moved into its new premises just across the way and for their debut production there, have returned to their 2012 production of John Dempsey and Dana P Rowe’s The Fix. Michael Strassen returns to direct a new cast but I have to admit that I think this is just a show that I am not destined to ever get on with.
I struggled with it four years ago and this time round found it no less problematic, perhaps even more so given the current state of political affairs on both sides of the ocean. With the post-Brexit omnishambles and the continued rise of Trumpism so fresh in our minds, fictional political satire is barely needed and it would be flattering The Fix to label it so, for it’s much more pulpy than that, soap opera-like even. Continue reading “Review: The Fix, Union”
“It’s so vulgar. I love it”
There’s not a ticket to be had for the Union Theatre’s production of Closer to Heaven, the entire run selling out well in advance, which would seem to indicate the Pet Shop Boys have more fans than might have been expected. My 3 star review for Official Theatre can be read here which covers the sharp and sexy choreography, the tuneful score and the woeful book. Also be warned, only sit in the front row if you’re a fan of direct eye contact and nipples.
Running time: 2 hours 20 minutes (with interval)
Booking until 23rd May, run currently sold out
“Reviewing it from where we sit, the facts are irrefutable”
Many of Stephen Sondheim’s musicals instantly gain the sobriquet ‘ambitious’ and so early productions suffered short runs. But where several have been revised and reworked into modern classics, 1976’s Pacific Overtures has remained one of his least produced works, languishing in relative obscurity. Which makes it ideal fodder for the musical theatre powerhouse of the Union Theatre to take on and revive, with Michael Strassen’s production garnering massive ticket sales before the run had even begun.
The show is set in mid-nineteenth century Japan where their isolationist policy has meant no visitors have been received to the country for hundreds of years. When an American ship arrives boisterously demanding an audience with the emperor and unwilling to have their colonial ambitions easily appeased, the Far Eastern nation is sucked slowly into the coils of Westernisation and opened up to ‘civilisation’. Based on John Weidman’s original play to which Sondheim added 12 melodically sophisticated songs, it isn’t too hard to see why it isn’t more often on our stages. Continue reading “Review: Pacific Overtures, Union”