The Curtain Up Show Album of the Year 2019 winners

Controversial perhaps, but I disagree with all three of these decisions! You can’t trust the public to vote for anything these days… congratulations to all the winners though

Best UK Cast Recording
& Juliet – Original London Cast Recording
Company – 2018 London Cast Recording
Follies – 2018 National Theatre Cast Recording
WINNER – Heathers (Original West End Cast Recording)
The Secret Diary of Adrian Mole Aged 13 ¾ – 2019 Original London Cast
Tina – The Tina Turner Musical Original Cast Recording

Best American Cast Recording
Beetlejuice (Original Broadway Cast Recording)
Hadestown (Original Broadway Cast Recording)
Jagged Little Pill (Original Broadway Cast Recording)
WINNER – Moulin Rouge (Original Broadway Cast Recording)
Oklahoma! (2019 Broadway Cast Recording)
Tootsie (Original Broadway Cast Recording)

Best Solo Album
Cassidy Janson – Cassidy
Ramin Karimloo – From Now On
WINNER – John Owen-Jones –Spotlight
Ben Platt – Sing To Me Instead
Jon Robyns – Musical Directions
Hayden Tee – Face to Face

10 of my top moments of the decade

Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)

© James Bellorini

Extraordinary Public Acts for a National Theatre

The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions.  A truly joyous and momentous occasion. 

Honourable mention: this year’s musical take on As You Like It proved just as heart-swellingly beautiful over at the Queen’s Theatre Hornchurch. Continue reading “10 of my top moments of the decade”

July theatre round-up

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”

Album Reviews: The Secret Diary of Adrian Mole Aged 13 ¾ / Heathers / Calendar Girls 

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.

News: A version of the London marathon for musical theatre fans

It’s the London Marathon on 23rd April but a week before, The Other Palace invites you to The Musical Marathon – a one-off charity concert bringing together a variety of West End stars in aid of male cancer charity Orchid. All Tickets are £26; £26 for 26 miles, 26 songs and an unmissable night of musical talent at 7pm on Sunday 16th April.


Organised by Paul Taylor-Mills, Artistic Director of The Other Palace and producer of shows including In The Heights and The Wild Party, the show will raise vital funds for Orchid, and their fight against male cancer. The evening will be hosted by Caroline Flack and will feature performances from Louise Dearman, Tyrone Huntley, Zizi Strallen, Oliver Savile, Liam Doyle, Nathan Amzi, Kim Criswell, Liam Tamne, Christina Modesto, Emma Kingston, Lockie Chapman, Shaun McCourt and Idriss Kargbo.
Orchid is the UK’s leading charity working on behalf of anyone affected by male cancer. Established in 1996 by testicular cancer patient, Colin Osborne MBE and the oncologist who saved his life, Professor Tim Oliver, Orchid exists to save men’s lives from male cancer through a range of support services, education and awareness campaigns and a pioneering research programme.

Review: Aladdin, Prince Edward

“A hundred thousand things to see”

Say Aladdin to most people across the world, and Disney would hope that the first thing that comes to mind is their 1992 animated film. In the UK though, the title is indelibly linked to pantomime and so it feels a little incongruous to have a major musical production of it opening in the middle of June. And whilst Casey Nicholaw’s production hasn’t stimped in any conceivable way when it comes to the look of the show (striking design from Bob Crowley), there’s still a faintly hollow ring to the whole proceeding.
A big hit on Broadway, Aladdin has been pretty much replicated and transplanted into the Prince Edward. Which is good in terms of the undeniable quality of the Disney brand – the family-friendly ethos, the slickness of the design, the unexpected self-referential dips into other Disney musicals. And in the knowing performance of American Trevor Dion Nicholas as the Genie, there’s a respectful homage to the character that Robin Williams brought to life so memorably on screen, which still carves its own identity too.
But the show is called Aladdin, and there’s no escaping that he’s a dud of a character. As is his high-born love interest Jasmine, Chad Beguelin’s book surprisingly weak here. Which leaves the show at a pretty pass, for neither Dean John-Wilson nor Jade Ewen can do too much to invest any kind of real life into them or the jolly japes they work their way through – Ewen does try valiantly though to inject some kind of positive feminist message into a story that is appallingly, dare one say it unforgivingly, lacking in that respect.
You can point to the devilishly good time that Don Gallagher and Peter Howe have as the nefarious Jafar and (humanised) Iago; or to the boisterous camaraderie of Aladdin’s coterie of (male) monkeying pals, Stephen Rahman-Davies and Nathan Amzi standing out here; there really is much to enjoy here on this magic carpet ride. But for all the theatrical pizzazz, there’s not enough emotional magic to keep you soaring, tumbling, freewheeling like the best fairytales should. 
Running time: 2 hours 30 minutes (with interval)
Booking until 11th February

Film Review: London Road

“Everybody’s very very nervous”
 
The theatrical production of London Road was a major success for the National Theatre, the opening run first extending in the Cottesloe and then being rewarded with a later transfer to the much larger Olivier – I was first blownaway by its originality and then later comforted by its message in the aftermath of the 2011 riots. So the news that director Rufus Norris was making a film adaptation was received with apprehensive anticipation, could this strikingly experimental piece of theatre possibly work on screen.
 
Writer Alecky Blythe uses a technique whereby she records interviews with people which are then edited into a play but spoken verbatim by the actors, complete with all the ums and aahs and repetitions of natural speech. And in 2006, she went to Ipswich to interview a community rocked by a series of murders, of five women in total, all sex workers, and set about telling a story not of salacious deaths but of a community learning to cleave together in trying times. Oh, and it’s all set to the most innovative of musical scores by Adam Cork, elevating ordinary speech into something quite extraordinary. 

Continue reading “Film Review: London Road”

Re-review: Urinetown, Apollo

“When a young girl has as many lines as I do, there’s still hope for dreams”

Though Urinetown’s run at the St James Theatre was very well-received (including here by yours truly), I have to profess to being a little surprised that a West End transfer was announced. The quirky nature of the show didn’t immediately seem to lend itself to one of the larger houses but without any mid-sized theatres in town, there’s no choice but to supersize when in reality, an extended run at the St James would have been ideal. It was sad to see the house so quiet for this midweek matinée and the run has now been shortened by a couple of weeks to allow My Night With Reg to move in so perhaps it was too hard a sell but Jamie Lloyd’s production certainly has much going for it. A few thoughts follow.

It’s nice to see a company supporting its own rather than parachuting in a ‘name’ for the sake of ticket sales and so Richard Fleeshman is replaced as the show’s hero Bobby Strong by Matthew Seadon-Young who has been there from the beginning. And likewise Julie Jupp and Alasdair Buchan will be stepping up to step into the shoes of Jenna Russell and Marc Elliott when they leave at the end of November – it’s a natural and brilliant progression route and it something that should definitely be encouraged. (Naturally the show isn’t immune to economic realities and so it is Phill Jupitus who will be coming in for Simon Paisley Day, an interesting choice but as I’ve never seen him on stage one I’m a little unsure about.) Continue reading “Re-review: Urinetown, Apollo”

Review: West End Recast 2, Phoenix

“I wonder why they didn’t just change their story”

There’s always gotta be a sequel right? After the success of West End Recast earlier this year, director Adam Lenson and musical supervisor Daniel A Weiss have once again gathered a cast of West End talent with nothing better to do on a Sunday night than perform songs they wouldn’t normally get the chance to sing. And once again, they hit the jackpot with West End Recast 2, an extraordinary range of performers and performances that offer a revelatory take on what places musical theatre could go to when a few risks are taken.

Imagine Cynthia Erivo as Bobby in Company, her rendition of ‘Being Alive’ was genuinely sensational (although nothing will ever convince me that a mid-song standing ovation is acceptable) and somehow found something new in this classic that literally raised the roof. So too did Gina Beck utterly own West Side Story’s ‘Maria’, an unexpectedly affecting take that also deserves to be explored more, not least as a fascinating challenge for her vocal range. Cassidy Janson deserves a mention for going green again, though this time as Shrek rather than Elphaba, well for the most part at least… Continue reading “Review: West End Recast 2, Phoenix”