Review: The Theatre Channel – Episode One

Featuring the likes of Jenna Russell, Matt Henry and Carrie Hope Fletcher, Episode 1 of The Theatre Channel is a roaring success

“Believe me, my admiration for you hasn’t died”

As big question marks remain over if and when theatre doors will start opening again, the move to online delivery of musical theatre  has taken an interesting turn with the arrival of The Theatre Channel. It is officially described as a web series but it is basically a musical theatre version of classic Top of the Pops online, ie heaven!

Set on location in (and on top of) The Theatre Café, the first episode was a slick half hour of cracking entertainment that really gladdened the heart. Director Bill Deamer offers a slice of real variety across its six numbers but also maintains a high level of quality, right down to the witty timing of the snippets of choreography he introduces via the inhouse ensemble. Continue reading “Review: The Theatre Channel – Episode One”

September theatre news, the UK version

Chichester Festival Theatre has announced their Autumn plans and it looks to be a good’un. It includes:
– Sarah Kane’s Crave, directed by Tinuke Craig and starring Erin Doherty and Alfred Enoch, staged in a socially distanced Festival Theatre for 10 performances and live streamed to digital audiences
– for Christmas, a series of festive concerts (including one with Rebeccas Caine and Trehearn), followed by Chichester Festival Youth Theatre in a new version of Pinocchio by Anna Ledwich, directed by Dale Rooks
Michael Ball, Sheila Hancock and Patricia Routledge in conversation with Edward Seckerson
– cabaret and comedy including Frisky & Mannish, The Black Cat Cabaret, Barely Methodical Troupe, Rich Hall, Suzi Ruffell, Russell Kane and Rosie Jones
– music ranging from a celebration of Sondheim with West End stars, to a song recital by Kate Royal, a new concert from Joe Stilgoe and a portrait of Rachmaninoff with Henry Goodman and Lucy Parham Continue reading “September theatre news, the UK version”

News: September theatre news gathers apace

Lockdown may have returned but theatres are boldly looking ahead – the David Tennant-starring Good and Six the Musical are moving theatres, Haydn Gwynne is back and The Last Five Years extends at the Southwark Playhouse

CP Taylor’s Good, starring David Tennant, Fenella Woolgar and Elliot Levey and directed by Dominic Cooke, which was due to open this October, has announced new dates for 2021 and a new run at the Harold Pinter Theatre.

Produced by Fictionhouse and Playful Productions, Good was originally scheduled to begin performances at the Playhouse Theatre on Tuesday 6th October. Due to the current global situation, the production was postponed and will now preview at the Harold Pinter Theatre from Wednesday 21st April  to Saturday 17st July 2021.

Current ticket holders will be given priority for the new dates and do not need to do anything. The point of purchase will be in touch with ticket holders to reschedule or refund their booking. Extra tickets for the new dates for Good at The Harold Pinter Theatre go on sale at 10am, Monday 12 October 2020. Continue reading “News: September theatre news gathers apace”

Lockdown treat: SIX – The worldwide cast of Queens and 3000 fans perform a lockdown collaboration

A bonus extra Friday treat as this one couldn’t wait – ALL the queens of SIX unite!

All performers gave their time for free to create this video so they would love it if you would consider donating a small amount to a charity that you think might need your help during this time. Below is a short list of suggestions:
🇬🇧 Acting for Others:
https://www.actingforothers.co.uk
🇺🇸 Actors Fund:
https://www.actorsfund.org
🇦🇺 Support Act:
https://www.supportact.org.au 

News: line-up for the second week of Leave A Light On

The schedule has been announced for week 2 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 the links to book.

The full lineup is as follows:

Monday 30th March
2:30pm Nathaniel Morrison 
4:30pm Grace Farrell
6:30pm Declan Bennett 

Tuesday 31st March
2:30pm Simon Bailey 
4:30pm Kelly Mathieson 
6:30pm Jordan Luke Gage 

Wednesday 1st April
2:30pm Daniel Boys 
4:30pm Sophie Isaacs 
6:30pm Aimie Atkinson 

Thursday 2nd April
2:30pm Declan Egan
4:30pm Hannah-Grace Lawson
6:30pm Velma Celli 

Friday 3rd April
2:30pm Blake Patrick Anderson 
4:30pm Daniel Koek 
6:30pm Marisha Wallace

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”

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.