Lockdown review: Some Enchanted Evening – Hope Mill Theatre

The Hope Mill Theatre crack open their address book to gather a great guest-list for this Rodgers & Hammerstein tribute concert, raising much needed funds

“Night after night, as strange as it seems…”

By rights, the Hope Mill Theatre should have been opening the UK premiere of Rodgers & Hammerstein’s Cinderella next month but ever pragmatic, its very own William Whelton and Joseph Houston have turned their hand to the theatre’s first online concert. Some Enchanted Evening still pays tribute to the iconic composing duo albeit in a different form, with friends and patrons gathering to take us through this wondrous songbook and an illustrious company bringing the songs to life.

From the incomparable Maria Friedman with a King & I medley to the ever-witty Sophie-Louise Dann relishing Allegro’s ‘The Gentleman is a Dope’, Joel Harper-Jackson (who was very good in Little Women) crooning through ‘If I Loved You’ to Louise Dearman#s shimmering star quality in ‘Edelweiss’, there’s a strong set of performances here. Standout of the night for me though was The Prince of Egypt‘s Simbi Akande, whose gorgeous soprano perfectly soared in Flower Drum Song‘s ‘Love Look Away’. Continue reading “Lockdown review: Some Enchanted Evening – Hope Mill Theatre”

The Curtain Up Show Album of the Year 2019 nominees

You can now vote for the Best London Cast Recording, Best Broadway Cast Recording and Best Solo Album here. Then fill in your details and click Vote and one lucky voter will win £100 worth of Theatre Tokens!

Best UK Cast Recording
& Juliet – Original London Cast Recording
Company – 2018 London Cast Recording
Follies – 2018 National Theatre Cast Recording
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)
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
John Owen-Jones –Spotlight
Ben Platt – Sing To Me Instead
Jon Robyns – Musical Directions
Hayden Tee – Face to Face

2020 What’s On Stage Award nominations

The nominations for the 20th Annual WhatsOnStage Awards have been announced and I have a thought or two #justiceforAnneHathaway

As a publicly nominated affair, the What’s On Stage Awards always throw up an interesting set of nominations, as fanbases engage alongside theatregoers to produce an idiosyncratic reflection on the year. This year though, the nominees for the nine creative categories (Choreography, Costume Design, Direction, Graphic Design, Lighting Design, Musical Direction, Set Design, Sound Design and Video Design) have been decided by an independent panel of industry experts appointed, which has resulted in some pleasing inclusions for the likes of Equus and Small Island

Acting-wise, the focus does land a little heavily on the more famous names (plus ça change) and that Supporting Actress in a Musical category is super-crowded (the Dear Evan Hansen mothers would have been a shoo-in for me there). My only real point of issue comes with the categorisation for the & Juliet players – are you really going to nominate Oliver Tompsett as a lead and then put Cassidy Janson in the supporting category? Did you not see the show, or get any of its message at all?!

Voting for the winners is open now and closes on 27th January 2020, with the winners being revealed at a ceremony on 1st March 2020.

Best Actor in a Play, sponsored by Edwardian Hotels

Tom Hiddleston – Betrayal – Harold Pinter Theatre
Andrew Scott – Present Laughter – The Old Vic
Matt Smith – Lungs – The Old Vic
Wendell Pierce – Death of a Salesman – Young Vic / Piccadilly Theatre
Laurie Kynaston – The Son – Kiln Theatre / Duke of York’s Theatre

Best Actress in a Play, sponsored by Tonic Theatre

Claire Foy – Lungs – The Old Vic
Zawe Ashton – Betrayal – Harold Pinter Theatre
Hayley Atwell – Rosmersholm – Duke of York’s Theatre
Sharon D Clarke – Death of a Salesman – Young Vic / Piccadilly Theatre
Juliet Stevenson – The Doctor – Almeida Theatre Continue reading “2020 What’s On Stage Award nominations”

Review: Mame, Hope Mill Theatre

There’s still a reason Mame hasn’t been seen in the UK for 50 years but this lavish Hope Mill Theatre production and a spectacular Tracie Bennett give it a damn good try

“Your special fascination’ll
prove to be inspirational
we think you’re just sensational”

In some ways you have to admire the ambition in reviving a show that hasn’t been seen professionally in the UK for 50 years. In others, you wouldn’t be blamed for blurting ‘what are you thinking’! The ever-adventurous folks at Manchester’s Hope Mill Theatre have done just that with this revival of Mame, hoping to find a glitzy neglected diamond in the rough. (And when oh when will they transfer their lovely take on Little Women to London like so many of their other shows.) 

Director Nick Winston’s wisest decision is to mount it with a lavishly decadent production that you don’t often see on the fringe, especially with the likes of Tracie Bennett (so excellent in Follies recently) heading the cast. Getting to see a performer of the calibre of Bennett, with a voice like that, in such intimacy as this, is a rare treat and even singing a minor Jerry Herman score, is a genuine theatrical thrill.
Continue reading “Review: Mame, Hope Mill Theatre”

Album Reviews: Company / Follies / Mythic

A trio of album reviews cover the (relatively) recently released cast recordings of Company, Follies and Mythic

“One more souvenir of bliss”

I adored Marianne Elliott’s reinterpretation of Stephen Sondheim and George Furth’s Company on my many visits and so the news of a cast recording was of course ecstatically received. And perhaps inevitably it doesn’t quite live up to the thrill of seeing it live but maybe that’s because the production is still so fresh in my mind. I mean we’re only talking a 4 instead of a 4.5…

© Brinkhoff Mogenburg

I swear Patti LuPone’s ‘Ladies Who Lunch’ was different every time I saw it but this version here is as good as any, with the glorious fullness of her voice pointedly sharpening its wit. Her contributions to ‘The Little Things We Do Together’ are inspired, Jonny Bailey’s ‘Not Getting Married’ is breathlessly affecting and the warmth of Rosalie Craig’s character and voice infuse the whole experience with real quality.  Continue reading “Album Reviews: Company / Follies / Mythic”

Re-review: Follies 2019, National Theatre

Follies 2019 remains the show that I need right now

“I’m so glad I came”

Just a quickie for this revisit to Follies, which remains as perfect a piece of musical theatre as I could hope for. I loved it then but I really love it now, Joanna Riding is just heartbreakingly perfect as Sally, she really brings something to the role that somehow eluded Imelda Staunton (for me at least), Alexander Hanson is superb in tracing Ben’s tragic fall, and Janie Dee and Peter Forbes maintain their stellar work as Phyllis and Buddy (seriously, Dee is a proper showstopper).

And as is surely appropriate in Dominic Cooke’s production, ghosts of the past interplay with what we’re seeing from top to bottom. It was great to see Dame Felicity Lott as Heidi, a different but no less affecting proposition than Dame Josephine Barstow (there truly ain’t nothing like a…). And the young talents of Gemma Sutton, Ian McIntosh, Harry Hepple and Christine Tucker are eloquently elegant as the younger incarnations of the central quartet. Continue reading “Re-review: Follies 2019, National Theatre”

Review: Follies 2019, National Theatre

The Olivier Award-winning Follies returns to the National Theatre in richer, deeper, more resonant form and just blows me away

“It’s the cat’s pyjamas”

Like the ghosts of their younger selves that haunt the characters in Follies so beautifully in this production, for those who were lucky enough to catch its superlative Olivier Award-winning 2017 run, so too do our memories interplay with what we’re seeing, inducing some soul-shiveringly exceptional moments that are almost metatheatrical in the feelings they provoke. 

The tingle of anticipation is never far away but the show somehow feels richer, deeper, more resonant in the note of melancholy it strikes as it exposes nostalgia for the rose-tinted self-delusion it so often becomes. Janie Dee’s Phyllis somehow feels more desolate, especially in her bitterly brilliant ‘Could I Leave You’; Tracie Bennett scorches the roof once more in ‘I’m Still Here’ in what feels like a more internal performance now; we’re all at least a year older… Continue reading “Review: Follies 2019, National Theatre”

Finalists of 2018 Stephen Sondheim Society Student Performer of the Year

Will Carey (Guildford School of Acting)
Alex Cardall (ArtsEd)
Emily Beresford (The Hammond, Chester)
Sabi Perez (RADA)
James Stirling (Mountview Academy of Theatre Arts)
Dónal Finn (LAMDA)
Bonnie Badoo (Bristol Old Vic Theatre School)
Shelby Flannery (LAMDA)
Elliott Wooster (Royal Central School of Speech and Drama)
Pedro Leandro (Bristol Old Vic Theatre School)
Amara Okereke (ArtsEd)
Thomas Grant (Royal Academy Of Music)

Host: Tracie Bennett
Judges: Edward Seckerson (Chair), Rebecca Trehearn, Rebecca Caine, David Benedict & Stephen Ridley

Golden Bucket Awards 2018

IT STARTS WITH A SPEECH

This award is for those that made the speech night after night encouraging audiences to donate, making a huge impact during the Bucket Collections in 2018.

Winner: Ashley Day for An American In Paris

TOUR DE FORCE

This award goes to the theatre group or touring production that have excelled in fundraising across the country and for encouraging their companies to participate and make our all-important speech.

Winner: ATG Continue reading “Golden Bucket Awards 2018”

Review: Ruthless! The Musical, Arts

Not even Tracie Bennett can save Ruthless! The Musical from itself

“Not a reason on Earth as far as I know
To write, mount and open a musical show”

Ruthless? Charging up to over £70 for a show at the Arts. Ruthless? Advertising yourselves as an all-female musical when you’ve a man in the cast. Ruthless? Putting said man above the title because he’s a talent show judge. Ruthless indeed. I didn’t mean to start off so grumpily for at times, Ruthless! The Musical is a riot of campy nonsense, your perfectly acceptable off-West-End fare. And with its kaleidoscope of nods to pretty much every example of the showbiz mom/bratty kid genre you can think of, you can see how its niche appeal might build up into cult status.

Richard Fitch’s production, the first major one in the UK, seems determined to achieve bigger things though and it doesn’t always come off. The story centres on strong-willed eight-year-old Tina Denmark who is determined to get the lead in her school play and egged on by a talent agent and a suspect family history, pursues that ambition mercilessly.     Continue reading “Review: Ruthless! The Musical, Arts”