A new version of Sunday at the Musicals will return to The Actors’ Church in London on Sunday 22nd November at 5.30pm and 8.00pm. The concert will feature a large cast of West End singers who will perform songs from popular musicals to raise funds for Acting for Others.
The performances will be hosted by Sarah-Louise Young and the company, subject to availability natch, are: Kelly Agbowu, Kacey Ainsworth,Tsemaye Bob-Egbe, Charlie Bull,Colin Burnicle, Matthew Croke,Janie Dee, Nicole Raquel Dennis,Sue Devaney, Leanne Garretty,Rebecca Gilliland, Lisa Gorgin,Melissa Jacques , Claudia Kariuki,Natalie Kassanga, Sejal Keshwala,Anna McGarahan, James Meunier, Ceili O’Connor, Rosa O’Reilly,Mira Ormala, Sarah O’Connor,Charlotte O’Rourke, Sara Poyzer,Sophie Reeves, Joshua St Clair,Liam Tobin, Shona White,Pippa WinslowandBenjamin Yates.
Tickets for the new Sunday at the Musicals concert at The Actors’ Church can be booked here.
23 West End actresses who have played Elphaba or Glinda in Wicked have reunited to perform a stunning rendition of the show’s ‘For Good’ to support the Make a Difference Trust Covid 19 Emergency Appeal Fund to support those in the theatre community suffering hardship because of the coronavirus crisis.
Please consider donating either by texting “SUPPORT” to 70111 to donate £5 (UK ONLY) or donate any amount here
I revisit long-runners The Mousetrap, Les Misérables and Wicked, and come to a decision (of sorts) about the future of this blog
“Here’s to you and here’s to me”
Well 2019 has been an interesting year so far and one full of significance – I’ve turned 40, this blog has turned 10 and it’s all got me in a reflective mood. Personally, professionally, is this what I want to be doing? Do quote a Netflix show I haven’t even seen, does all this bring me joy…? Over the last couple of weeks, I’ve revisited a few long-running shows in the West End to consider what cost longevity.
The longest running show in the West End is The Mousetrap – 66 years old with over 27,000 performances and their answer to keeping going is to not change a single bit – has the show even ever cast a person of colour? My limited research suggests not… On the one hand, it’s a policy that does seem to have worked and that record is a mighty USP, although does the number of empty seats at the St Martin’s that afternoon suggest a waning of interest finally? Continue reading “Blogged: long-running shows and long-running blogs – what does the future hold”
As Wicked powers towards its 13th year on the West End, Alice Fearn’s Elphaba ensures visitors to the Apollo Victoria won’t be disappointed
“Ah tum ah tum eleka nahmen…”
Off the top of my head, I couldn’t tell you how many times I’ve seen Wicked now – it feels like loads – so it’s useful that I have it all written down in a blog… I do know it is a good while since I last saw it, five years in fact, which was evidently my third visit to the Apollo Victoria and one which left me disappointed. So it has taken a little while for me to get interested in taking up an opportunity to go see it again but we got there, eventually.
And I have to say I enjoyed my return trip to Oz, mainly because of the sensational performance of Alice Fearn as Elphaba. It’s always nice to see a performer rewarded for paying their dues, working their way up through ensemble and chorus roles until they get that chance to shine. And because of that background, that experience, that starring role has the real sense of being a career-defining opportunity. Continue reading “Re-review: Wicked, Apollo Victoria”
Andrew Lloyd Webber sure doesn’t make it easy – for his support of new musical theatre in taking over the St James Theatre to making a transatlantic dash to the House of Lords to vote in support of tax credit cuts for the working poor, it’s hard to know where to stand. His status in the British theatrical establishment remains largely unchallenged though and it is to the 46-year-old Jesus Christ Superstarthat the Open Air Theatre in Regents Park have turned for their big summer musical, directed this year by Timothy Sheader.
And how do you play a 70s rock opera for today? You bring onboard shit-hot creatives like Tom Scutt and Drew McOnie to reinvent it for 2016. Scutt’s design choices make a virtue of the timeless iron structure that edges the stage. The company arrive in luxury sportswear, its loose silhouettes and muted earth tones akin to a Kanye West fashion show with which McOnie’s contemporary choreography meshes perfectly. Later scenes feature the glitter-covered muscularity of something like a late night Brighton Pride, a smattering of Xerxes from the film 300 and all out Sink the Pink excess during the whipping sequence. Continue reading “Review: Jesus Christ Superstar, Open Air Theatre”
“Now is the time when the people of Chile come together”
I’m going to put it out there, I have no idea why new musical The Postman and the Poethasn’t received a major production yet. This concept album was recorded in 2011 and has to rank as one of my favourite things I’ve listened to over the last few weeks of all these cast recordings, if not the whole year. It’s even based on source material that has Oscar-winning connections to endear it to risk-averse audiences – if From Here To Eternity can make it to a West End theatre, I’m sure The Postman and the Poet could make a decent stab at it too.
The show is based on Antonio Skármeta’s novel Ardiente Paciencia, on which the 1994 Oscar-winning film Il Postino was based, but Trevor Bentham and Eden Phillips’ book keeps the story of the musical in Isla Negra, a small fishing village on the Chilean coast and in the early 1970s, when political turmoil threatened to overwhelm this South American country. And Michael Jeffrey, a composer new to me, has pulled together a hugely exciting and accomplished score that blends its Latin influences seamlessly into a grand musical theatre style. Continue reading “Album Review: The Postman and the Poet (2011 Concept Album)”
Somewhat ironically, just last week I inferred that it’s a much more diverse prospect to collate a lyricist’s work, as opposed to to a composer, into a cohesive album whilst reviewing wordsmith Lesley Ross’ new CD. But turning to one of Ross’ musical collaborators on that disc – John-Victor – I’ve immediately been proven wrong with Shoot…Bang!This is new musical theatre writing as you’ve rarely heard it, genuinely original and fiercely contemporary and yes, hugely wide-ranging in its content.
Pulling together excerpts from four of his musicals in various stages of development (some with Perfect Pitch) War and Fleece and Barry the Penguin (a black and white Christmas) written with Lesley Ross, and Carla Cthulu and Chick with Paul Roberts, what instantly strikes you is the immediacy of the music. It’s club tunes, it’s pop songs, it’s radio hits, all fed through with an essential thread of musical theatre but emerging with the kind of freshness that is, well, so refreshing to hear. It is clear to see why pop bands have called him in to help co-write hits for them but the prospect of hearing this music in fully-fleshed out shows in theatres is a hugely exciting prospect for the future. Continue reading “Album Review: John-Victor – Shoot…Bang!”