The schedule has been announced for week 3 of Leave A Light On, a series of live-streamed concerts.
The shows will be live streamed as part of the Leave A Light on series of concerts produced by Lambert Jackson and The Theatre Café, which aims not only to provide financial support for the performers involved, but also to provide entertainment for people in self-isolation.
Tickets to watch the live streams are a bargainous £7.50, just click on this links to book.
The full lineup is as follows:
Monday 6th April
2:30pm Lara Denning
4:30pm Lauren Drew
6:30pm Alice Fearn
Tuesday 7th April
2:30pm Janique Charles
4:30pm Olivia Moore & Piers Bate
6:30pm Zoe Birkett
Wednesday 8th April
2:30pm Raquel Jones
4:30pm Sabrina Aloueche
6:30pm Josh Piterman
Thursday 9th April
2:30pm Paul Wilkins
4:30pm Nadim Naaman
6:30pm Jodie Steele
Friday 10th April
2:30pm Tim Mahendran
4:30pm Renee Lamb
6:30pm Fra Fee
I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in July.
On Your Feet, aka the rhythm will get you, sometimes
the end of history…, aka how can you get cheese on toast so wrong
Equus, aka hell yes for Jessica Hung Han Yun’s lighting design
Games for Lovers, aka straight people be crazy
Captain Corelli’s Mandolin, aka the one that got my goat
The Girl on the Train, aka Philip McGinley in shorts
A Midsummer Night’s Dream, aka Another Dream? dream on
Uncle Vanya, aka I really need to stop booking for plays like this with casts like that
Jellyfish, aka justice for the second best play of last year
Sweat, aka Clare Perkins should always be on in the West End
Sue Townsend’s The Secret Diary of Adrian Mole Aged 13 3/4 The Musical, aka yay for lovely new musicals in the West End
The Light in the Piazza, aka Molly Lynch fricking nails it
Jesus Christ Superstar, aka was third time the charm?
Continue reading “July theatre round-up”
A trio of quick London cast recordings – The Secret Diary of Adrian Mole Aged 13 ¾, Heathers and Calendar Girls
“For a greasy little nobody, you do have good bone structure”
I was delighted to see a belated West End transfer for this lovely new musical by Jake Brunger and Pippa Cleary. I’ve loved every step of its journey and The Secret Diary of Adrian Mole Aged 13 ¾ (Original London Cast Recording) proves the perfect accompaniment as it captures so much of the energy of this most British of tales and sparky performances from the likes of John Hopkins and the luminous Kelly Price.
I didn’t however make it to Heathers, it just not appealing to me at all. With Heathers (Original West End Cast Recording), the opportunity to listen to this high school musical is now ours but I have to say, its charms elude me. There’s a fatal mismatch between the darkness of the source material (it really is a brutal film) and the breeziness of Laurence O’Keefe and Kevin Murphy’s pop-rock score that not even the quality of Carrie Hope Fletcher, Jodie Steele, Sophie Isaacs and Jamie Muscato’s strong performances can overcome.
And I thought I’d pay another visit to Yorkshire for Calendar Girls (Original London Recording) to see whether it stands the test of time. It proved an amiable if short-lived presence in the West End and listening to it again, I’d argue that there’s a gentleness to it that doesn’t quite linger long enough. Gary Barlow’s tunes are undeniably pretty but ultimately, they don’t really call out to be listened to over and again.
Not even Tracie Bennett can save Ruthless! The Musical from itself
“Not a reason on Earth as far as I know
To write, mount and open a musical show”
Ruthless? Charging up to over £70 for a show at the Arts. Ruthless? Advertising yourselves as an all-female musical when you’ve a man in the cast. Ruthless? Putting said man above the title because he’s a talent show judge. Ruthless indeed. I didn’t mean to start off so grumpily for at times, Ruthless! The Musical is a riot of campy nonsense, your perfectly acceptable off-West-End fare. And with its kaleidoscope of nods to pretty much every example of the showbiz mom/bratty kid genre you can think of, you can see how its niche appeal might build up into cult status.
Richard Fitch’s production, the first major one in the UK, seems determined to achieve bigger things though and it doesn’t always come off. The story centres on strong-willed eight-year-old Tina Denmark who is determined to get the lead in her school play and egged on by a talent agent and a suspect family history, pursues that ambition mercilessly. Continue reading “Review: Ruthless! The Musical, Arts”
“You may be 13 but you’re still an adolescent boy”
After premiering at the Curve Theatre in 2015, Pippa Cleary and Jake Brunger’s musical adaptation of Sue Townsend’s tale of Leicester’s most famous teenager has undergone its own version of puberty, re-emerging at the Menier Chocolate Factory for the summer. And those growing pains seem to have been worth it as The Secret Diary of Adrian Mole Aged 13 ¾ has matured beautifully, a powerful example of how musicals need to be allowed to develop, resulting in this case in a fantastic new British musical.
Luke Sheppard’s production certainly benefits from the intimacy of the South London venue but where it now excels is in its emotional intensity. The scenes between Adrian (played by Ilan Galkoff at this performance) and his mother Pauline, an achingly superb Kelly Price, are just heart-breaking, as he struggles to realise just how far her women’s lib-inspired independence will take her from him. I was reminded that reading this book was in fact was one of the main ways I learned about divorce and that scarce comprehension is captured perfectly here. Continue reading “Review: The Secret Diary of Adrian Mole Aged 13 ¾, Menier Chocolate Factory”