“I am not making friki-friki”
The London Musical Theatre Orchestra’s arrival on the scene has not gone unnoticed by me but their previous concerts have always fallen on days when I couldn’t make it. So finally putting a show on on a Sunday night meant I was able to put it in the diary and to mark the occasion, they only went and invited their first guest conductor along, Mr Jason Robert Brown himself to helm the UK premiere of his show Honeymoon in Vegas.
And in the swish surroundings of the London Palladium, it was hard not to be entirely seduced by the lush sound of a 30-strong orchestra (under the musical direction of Freddie Tapner), a chorus of 16 up-and-coming performers and a main cast of bona fide West End stars directed by Shaun Kerrison. The concert staging allows for an amusingly slapdash approach which really suited the joie de vivre exuding from pretty much everyone involved here, a real passion project. Continue reading “Review: Honeymoon in Vegas, London Palladium”
Originally developed as live shows in Melbourne and the Edinburgh Festival, multi-award winning and ‘two-time Edinburgh Comedy Award Nominee’ comic storyteller Sarah Kendall is set to bring her critically acclaimed trilogy of funny and moving stories to BBC Radio 4 starting on Tuesday 28th February. Continue reading “Round-up of news and treats and other interesting things”
The end of year round-up continues with the acting performances that stood out for me, the ones that made me sit up, and sometimes stand up. As ever, I have used the label ‘best’, the categories should really be considered ‘favourite’ as that is what the fosterIANs (fos-tîr’ē-ən) are – my favourites. So please find below the 2016 fosterIAN award nominations, categories expanded to 7 nominees (and sometimes more!) because I am that indecisive, winners to be announced in the coming days.
Best Actress in a Play
Uzo Aduba/Zawe Ashton, The Maids
Gemma Arterton, Nell Gwynn
Linda Bassett, Escaped Alone
Helen McCrory, The Deep Blue Sea
Maxine Peake, A Streetcar Named Desire
Juliet Stevenson/Lia Williams, Mary Stuart
Harriet Walter, The Tempest
Best Actor in a Play
Phil Dunster, Pink Mist
Paapa Essiedu, Hamlet
O-T Fagbenle, Ma Rainey’s Black Bottom
Rhys Isaac-Jones, Jess and Joe Forever
Lucian Msamati, Amadeus
Lucian Msamati, Ma Rainey’s Black Bottom
Danny Sapani, Les Blancs Continue reading “The 2016 fosterIAN nominations”
“First, a story”
When The Last Five Years announced an extension of a week just after opening, it meant I was able to nab a pair of cheap tickets down the front, conveniently on the side where the shirtless scene happens, and take a friend. And I’m glad to I got to revisit the show, both to see it (literally) from a different angle and also to experience it with understudy Samuel Thomas playing Jamie, as Jonathan Bailey was suffering from an indisposition.
My original review of Jason Robert Brown’s production of his own musical can be read here and as per, it still stands. Samantha Barks has really got the role of Cathy down to perfection with a beautiful line in rueful, reflective humour alongside that gorgeous voice. And Thomas did a great job as Jamie, perhaps more of a vocal match for his co-star as evidenced in a stellar ‘Nobody Needs To Know’ – my only note would be his clock dancing could be a little freer (and that’s only because I’ve seen Bailey do it, my friend thought he ‘clocked’ just fine!). Continue reading “Re-review: The Last Five Years, St James”
“I’m not always on time
Please don’t expect that from me”
I think I have to rank Jason Robert Brown’s The Last Five Years as one of my favourite new musicals (it was first performed in 2001) as any show with such a sequence of extraordinary songs as ‘A Part Of That’, ‘The Schmuel Song’ and ‘A Summer In Ohio’ at its heart surely deserves. I had the privilege to be introduced to the show by the Paul Spicer and Julie Atherton-starring version in 2009, I loved it again with Jon Robyns and Danielle Hope a couple of years ago, and I was a fan of last year’s film version and how it adapted the show’s unique structure for a different medium.
The show’s conceit is that he tells the story of a relationship between 2 twenty-something New Yorkers both from start to finish and from finish to start at the same time. So Jamie’s narrative commences in fresh hope at the beginning and Cathy’s opens at a moment of real heartbreak and as they move along their timelines, there’s one moment where they crossover, where they actually interact, a moment of glorious happiness made all the more tragic for already knowing how it is going to end. Continue reading “Review: The Last Five Years, St James”
“Drink…and let the games begin”
You gotta love an origin story, even for the dark lord himself, as everyone’s misunderstood, no-one’s that bad really. Or so Matt Sazama and Burk Sharpless would have us believe in Dracula Untold, a 2014 Gary Shore film that ultimately did fairly good business. Here, Luke Evans’ Vlad is a good lad who only got the nickname ‘The Impaler’ because he was kidnapped by the Ottoman Empire as a boy and trained into their most deadly assassin.
But he’s escaped now and has a wife and kid so all is good. Or is it? When a Turkish helmet (not a euphemism) is found in a river, Vlad realises that his childhood friend Mehmet, now Mehmet II, played by Dominic Cooper in a huge amount of fake tan (because you know, Hollywood couldn’t possibly try and turn a Turkish actor into a star) is up to no good. So he follows the stream to a cave where Charles Dance is hiding. Continue reading “Hallowe’en DVD Review: Dracula Untold (2014)”
“Remember the glass we charged in celebration”
Samantha Barks has come a long way from Saturday night BBC talent shows – to the West End to blockbuster film musicals and performing at the Oscars, even appearing on Bear Grylls: Mission Survive. It’s taken her a little while to get around to releasing her self-titled first album – a mixture of original tracks, pop songs and stagier fare – but on this evidence, it has been well worth the wait with a beautifully assured, intimate collection.
There’s nothing forced about Barks’ approach on Samantha Barks here – the fireworks of Moulin Rouge’s ‘One Day I’ll Fly Away’ and Disney charm of Hercules’ ‘Go The Distance’ are delivered with a real restraint, and the less theatrical choice of song come slightly from left-field – the elegant piano and strings of Burt Bacharach and Elvis Costello’s ‘This House Is Empty Now’ is strikingly mature and yet superbly heartfelt, The Band Perry’s ‘If I Die Young’ delicately affecting too. Continue reading “CD Review: Samantha Barks – Samantha Barks (2016)”
“And there it is…”
For a composer who hasn’t had a major show on over here, Scott Alan inspires an amazing amount of evangelical joy from his fans. This has come from a series of albums and concerts in which his songwriting has been showcased by a wide-ranging collection of Broadway and West End stars, culminating in a rapturously received residency at the St James Theatre a couple of months ago. I like his work, having previously reviewed a couple of his albums, but I haven’t been as ecstatic as some about it so I thought I’d go back to the ones I hadn’t listened to.
His double album Live offers reworkings of many of his songs and mixes things up further by retaining many of his frequent collaborators but letting them loose on different songs, even switching up genders on some of them. It’s a great move – Natalie Weiss smashes the joyful ‘I’m A Star’, Laura Osnes wraps her delicate voice beautifully around ‘Now’ and Jeremy Jordan is charming as ever on ‘Please Don’t Let Me Go’ and that’s all in the opening five songs. The slightly indulgent length of the album means we don’t always maintain such intense quality over both discs plus bonus tracks.
Continue reading “CD Review: Scott Alan Live”