Rightly or wrongly, I never once wanted to go and see We Will Rock You but there’s no doubting how fun this cover of ‘Bohemian Rhapsody’ is
Raising money for Acting for Others – please consider donating here
Daniel and Laura Curtis are award winning musical theatre composers and lyricists, whose work has been performed at venues such as the Royal Albert Hall and the London Palladium. The pair have been described as “a magical, formidable writing team” by Success Circuit, with Broadway World declaring their music “simply lovely to listen to”. I reviewed their album Overture a few years back too and enjoyed it. Continue reading “News: The Barn Theatre Presents – The Music of Daniel and Laura Curtis.”
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’m frightened with the fear of not knowing”
Written by Dominic Powell and due to star Maiya Quansah-Breed, Sabrina Aloueche, Andrew Patrick-Walker and Adrian Hanse, CASES is a new musical “exploring the triumphs, heartbreaks and sacrifices involved in the pursuit of art, where the commercial world collides with the underground and fame becomes a high price to pay”. It premiered at the Phoenix Arts Club in 2017 but this new production, directed by Grace Taylor, features a new score and new songs and technology being what it is these days, we have a taste of two of them below, which should whet the appetite for when the show is able to resurface.
“From square one I’ll be watching all sixty-four”
It’s taken over 30 years for Chess to return to the West End (though it was seen at the Union in 2013) and though it has a huge amount of resource thrown at it in Laurence Connor’s production for English National Opera, it doesn’t necessarily feel worth the wait. An 80’s mega-musical through and through with an intermittently cracking score from ABBA’s Benny Andersson and Björn Ulvaeus, Richard Nelson’s book hasn’t aged particularly well and bears the hallmarks of the substantial tinkering it has had at every opportunity.
It’s not too hard to see why it has needed the tinkering. The mix of Cold War politics told through the prism of rival US and Soviet chess Grandmasters, love triangles and power ballads is a tricky one to get right and part of the problem seems to be just how seriously to take it all. On the one hand, the chess matches are backgrounded with montages of the real-life tensions of the 80s; on the other, scenes that take us through the various locations of the tournaments are a cringeworthy riot of cultural stereotyping that revel in their utter kitsch. Continue reading “Review: Chess, London Coliseum”
As Mrs Merton might have asked, what first attracted you to musical theatre supergroup The Barricade Boys…?
— Robert Oliver West (@robwesty) October 31, 2017
Clearly, it was their cumulative musical talent – between them, Scott Garnham, Simon Schofield, Craig Mather and Kieran Brown have racked up credits in pretty much every major musical from The Phantom of The Opera, Wicked and Billy Elliot to Jersey Boys, The Sound Of Music and Les Misérables. And now they’re bringing their cabaret show to The Other Palace’s Studio for a Christmas season which is enough to bring festive cheer to even the most Scrooge-like of hearts. Continue reading “The Barricade Boys announce a Christmas Cabaret season with an amazing guest cast”
“Its simple truth speaks volumes in a world where hatred rages”
Following on from the re-release of his self-titled album earlier this year, Leslie Odom Jr gives us another opportunity to sink into his world of soulful jazz with an album of reinterpreted holiday classics in Simply Christmas on S-Curve Records. And I do mean sink into like the most comfortable sofa you can imagine, in front of a log fire and drinking a nice cup of Charbonnel and Walker, for this is rich and luxurious stuff – as evidenced halfway into opening track ‘Have Yourself A Merry Little Christmas’ when a softly funky breakdown envelops you in its warmth like a marshmallow on top of that hot chocolate.
Dangerously seductive in Hamilton, Odom Jr will lose precisely zero fans here with this lush yet restrained style. Arrangements are kept simple, allowing heartfelt vocals to imbue tracks like ‘The First Noel’ and ‘The Christmas Song’ with renewed life. Equally, the piano and vocal improvs in ‘My Favourite Things’ keep things utterly fresh without losing sight of the overall vision of the record. The gentle guitar accompaniment to The Carpenters’ ‘Merry Christmas Darling’ is a thing of loveliness and Sara Bareilles and Ingrid Michaelson’s new festive standard ‘Winter Song’ blooms gorgeously under the treatment. Continue reading “Festive review: Leslie Odom Jr / Megan Hilty / Eyles & Gould / All Aboard! The Sleigh Ride”
The less than salubrious surroundings of the North Florida trailer park Armadillo Acres (few armadillos and even fewer acres) might seem like the ideal location for a madcap musical and in some ways, you’d be right. And The Great American Trailer Park Musical certainly lives up to the madcap and the musical in this knowingly camp production by Kirk Jameson – it’s just the ‘great’ that feels somewhat in doubt.
There’s no questioning the quality of the production and its brilliant casting decisions. Tempting the likes of illustrious veteran Rosie Ashe to the fringe is no mean feat and the powerhouse pipes of the severely under-rated Sabrina Aloueche is all the more impressive in the intimate (if poorly raked) Waterloo East Theatre. In fact, the whole company sing very well, their assured vocals matched by James Taylor’s musical direction. Continue reading “Review: The Great American Trailer Park Musical, Waterloo East”
“There are worlds that you’ve never dreamed of…“
Laura Tisdall’s self-penned musical The In-Between received the concept album treatment back in 2012 but has remained unproduced since then. An original story about 19 year old orphan Flick Wimple and the dilemma she faces when an unexpected move places her in the space between parallel worlds – The In-Between – and she’s given the choice to leave all her problems behind but at no small cost to the older sister who has raised her. Helping her on her way is Calicus, someone who has guided many along a similar path but sees something different in Flick.
Musically, it cleaves a little too close to the pop-rock genre for my personal taste. It’s also hard to replicate that sound effectively on disc and so the production can sometimes sound a little cheap, especially in the opening couple of tracks. That said, Dianne Pilkington and Cassie Compton bring a real sense of character to the feisty ‘She’s My Sister’. The more keyboard-based songs feel stronger – Lauren Samuels’ gorgeously evocative voice is an ideal fit for the stirring ‘Someone You’d Be Proud Of’ and as the song expands to an epic reach, it’s hard not to think she’d be a great Flick. Continue reading “Album Review: The In-Between”
“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”