A host of West End stars have been enlisted to perform the shortlist of 15 compositions in the running for the 2020 Stiles + Drewe Best New Song Prize in a virtual concert to be streamed today (5th July 2020).
The schedule has been announced for week 4 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.
I’m a big fan of chocolate and an even bigger fan of Romantics Anonymous so naturally I had to head back to the Sam Wanamaker Playhouse for second helpings (and with somewhat less calories than your usual festive chocolate offerings!). Not too much more to add to my original review and I’d recommend booking in before it closes next week but there’s not a ticket to be had! Returns queue…?
Running time: 2 hours 20 minutes (with interval) Booking until 6th January
Like the squares of chocolates handed out for us to magically access automatic translation, there’s a bittersweet note to much of Romantics Anonymous. And it is perhaps predictably that Emma Rice scores one of her biggest hits on Bankside with a musical that couldn’t be more Emma Rice if it tried. As it is, it fits perfectly into the Sam Wanamaker Playhouse, shaking up the established order once again as she brings amplification and neon lights along with the huge generosity of spirit of this show, uncompromising to the end in her relationship with the Globe.
Romantics Anonymous was adapted by Rice from the French-Belgian film Les Émotifs Anonymes, and takes a wonderfully Gallic spin on your typical romantic comedy. Jean-René has inherited a chocolate factory, Angélique is a chocolatier par excellence in need of a job, they seem perfectly suited for each other but both are chronically, painfully shy. She faints if she has to speak to people, he has precisely zero confidence and even in the act of finally striking up a relationship together, both working and personal, their awkwardness is a constant threat to their happiness.
Noel Sullivan will forever be a member of Hear’say first and foremost to me, the product of one of first of this generation of Saturday night music talent show – Popstars – but since then, a career in musical theatre has beckoned and it is on that, rather than his pop star life, that his debut album Here I Go Again concentrates. At a swift 9 tracks, he runs the gamut of his theatrical CV (What A Feeling, Grease, Rock of Ages, Flashdance, Priscilla…) but also throws in a couple of singer-songwriter moments lest we forget his versatility.
It’s nice to see Sullivan maintain strong links with his cast-mates from various shows as he’s a generous duet partner who really shines when sparking off someone else. A funky scratched-up take on ‘You’re The One That I Want’ with Lauren Samuels is sultry indeed, a powerful rendition of ‘Here And Now’ features the glorious Victoria Hamilton-Barritt in fine form, and Cyndi Lauper’s evergreen ‘True Colors’ twinkle once more with the added participation here of Richard Grieve and Graham Weaver. Continue reading “Album Review: Noel Sullivan – Here I Go Again (2014)”
Surrounded by the Sounds – the music of Tim Prottey-Jones is the second of actor/writer Prottey-Jones’ albums featuring a whole array of his West End pals, but the third that I’ve reviewed (see reviews of More With Every Lineand To Do. To Be.) It features songs from two of Prottey-Jones musicals – Once Bitten and After The Turn – and has a decidedly more pronounced rock feel to it than either of his other collections.
As such, it didn’t quite tickle my fancy in the way that I might have liked, especially since To Do. To Be. had impressed me. And it’s not that this is a collection of bad songs, they’re just not my cup of tea. Such guitars, much rock, so not wow. Even when the tempo slows a little into ballad territory, as with Michael Xavier’s ‘Chance In A Lifetime’ or Jodie Jacobs’ ‘Colour Me’, it is still just too monotonely guitar-heavy for my liking.
Across its two discs and twenty-three tracks, there’s an awful lot of whimsy to Alexander S Bermange’s latest compilation album Wit and Whimsy and not quite enough wit to sustain it. Bermange is a composer who has had as much success writing comic songs for radio as he has in straight-up musical theatre (the two shows of his that I’ve seen –The Route to Happinessand Thirteen Days – were both part of festivals).
Sex sells. And so Arthur Schnitzler’s 1897 play of 10 interlinked intimate encounters has proven enduringly popular over the years – adapted for the gays, for fans of musicals, for Charlie Spencer’s libido… – and now Max Gill has taken a decidedly 21st century gender-neutral approach toLa Rondefor the opening salvo in the Bunker’s second season. A giant roulette wheel dominates Frankie Bradshaw’s set and as it spins, it is thus left to chance to dictate who of the company – 2 women, 2 men – will tag in to play the next two-hander (or not as the case may be, the wheel refusing to land on one of the actors on press night).
So from Premier Inns in Hillingdon to doctors’ surgeries, bland apartments to hot and sweaty lifts, all sorts of shenanigans play out. Tinder dates gone awry, ex-lovers unable to resist each other, sex workers going about their business, marriages gone stale, the unpredictable nature of the casting means that everything is up for grabs here and between them, Alexander Vlahos, Amanda Wilkin, Lauren Samuels and Leemore Marrett Jr do a fine job, whether it is Vlahos slipping into black PVC hotpants or Wilkins nailing each and every one of her vivid characterisations. Continue reading “Review: La Ronde, Bunker Theatre”