Round-up of news and treats and other interesting things

In his first season as artistic director of Theatre N16, Scott Ellis presents a slew of new writing.
 
Olympilads by Andrew Maddock, produced by Lonesome Schoolboy and directed by Niall Phillips, reunites the team that presented He(art) at Theatre N16 earlier this year. Theatre N16 executive director (and former artistic director) Jamie Eastlake will present his new show Deadline Day by John Hickman and Steve Robertson: a bitter sweet tale about football, greed and the North-South divide.
 
Ten emerging artists debut a selection of original and varied works exploring feminism today in Maiden Speech: A festival of fresh feminist voices. Theatre N16 will also produce a new play by Sarah Milton, directed by Scott Ellis.

Continue reading “Round-up of news and treats and other interesting things”

CD Review: Women on the Verge of a Nervous Breakdown (2015 Original West End Cast Recording)

“I’m halfway up a tree and completely in a jam.
I’m out here in a desert and nobody gives a damn”

After the abortive first run on Broadway, dubbed “a very expensive out-of-town try-out” by composer David Yazbek, a reconceived version of Women on the Verge of a Nervous Breakdown made its way to the West End in early 2015 but it only managed the same 4 months of a run there before closing in ignominy once again. Some things just aren’t meant to be it would seem.

I saw the show at the Playhouse and saw first-hand how ill-conceived this reconceived conception was and listening back to the score, you’re just reminded of how very random the whole thing is. At times, it seems on the verge of working – the manic patter of ‘Model Behavior’ is well delivered by Anna Skellern and Haydn Gwynne brings her customary class to Lucia and her lament to ageing in ‘Invisible’.  Continue reading “CD Review: Women on the Verge of a Nervous Breakdown (2015 Original West End Cast Recording)”

Album Review: Scott Alan – What I Wanna Be When I Grow Up

“Not quite ready to grieve”

I looked at Scott Alan’s live album last week and this week it is the turn of 2010’s What I Wanna Be When I Grow Up. His third album, it follows the similar path of collating songs around a common theme but still showcasing a wide range of musical influences from Alan, and showing off the extent of his address book in calling in some of Broadway’s brightest lights to help him out. It’s a nice collection but one which never really kicks fully into gear for me. 

The relaxed radio-friendly emotion of Laura Osnes’ ‘Easy’ and ‘Warm’ by Zak Resnick & Morgan James and the chirpy, almost girl-group pop of Nikki Renee Daniels’ ‘Love, Love, Love’ show Alan’s undoubted skill with a well-honed melody and capturing contemporary pop sensibilities. His favoured style of writing is clearly stonking empowerment anthems of which there are plenty here – ‘Watch Me Soar’ by Willemijn Verkaik and ‘I Wish’ by Diana DeGarmo probably rank as the two strongest. Continue reading “Album Review: Scott Alan – What I Wanna Be When I Grow Up”

Album Review: Scott Alan Live

“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 “Album Review: Scott Alan Live”

Review: Women on the Verge of a Nervous Breakdown, Playhouse

“The car’s OK but where’s the wheels…?”

The Broadway production of Women on the Verge of a Nervous Breakdown was less than a stellar success so it is little surprise that it is a majorly reworked version of the show that has opened at the Playhouse Theatre four years later. But even after all the reconstruction and renovation that has been done to Jeffrey Lane’s book and David Yazbek’s score, it is hard to feel that director Bartlett Sher has really nailed it here either.

For something based on a Pedro Almodóvar film, there’s a shocking uncertainty of tone, or more accurately a lack of any real sense of tone at all. The story in set in late 80s Madrid but there’s little concession to either this particular decade or country (though there is bafflingly one incongruously Hispanic accent). One could argue that this is a wise decision but the issue lies in that no overarching conceit of any substance has replaced it. Continue reading “Review: Women on the Verge of a Nervous Breakdown, Playhouse”

2014 BroadwayWorld UK Awards Shortlist

Best Choreography in a New Production of a Musical
Bob Avian & Geoffrey Garratt – Miss Saigon – Prince Edward Theatre
Peter Darling – Charlie and the Chocolate Factory – Theatre Royal, Drury Lane
Gary Lloyd – 20th Century Boy – The Grand Wolverhampton
Ann Yea – Urinetown – St James

Best Costume Design in a New Production of a Play or Musical
Andreane Neofitou – Miss Saigon – Prince Edward Theatre
Rae Smith – The Light Princess – National Theatre
Soutra Gilmour – Urinetown – St James Theatre
David Shields – Sister Act – Aberystwyth Arts Centre

Best Direction of a New Production of a Musical
Laurence Connor – Miss Saigon – Prince Edward Theatre
Matt Ryan – Dogfight – Southwark Playhouse
Jamie Lloyd – Urinetown – St Jamess
Paul Kerryson – Chicago – Curve Leicester

Best Direction of a New production of a Play
Yael Farber – The Crucible – The Old Vic
Declan Donnellan – Shakespeare in Love – Noel Coward Theatre
Jamie Lloyd – Richard III – Trafalgar Studios
Daniel Evans – The Full Monty – Noel Coward

Best Featured Actor in a New Production of a Musical
Kwang-Ho Hong – Miss Saigon – Prince Edward Theatre
Hugh Maynard – Miss Saigon – Prince Edward, London
Matthew Barrow – Chicago – Curve Leicester
Adam Pearce – Urinetown – St. James Theatre

Best Featured Actor in a New Production of a Play
Adrian Schiller – The Crucible – Old Vic Theatre
David Oakes – Shakespeare In Love – Noel Coward Theatre
Bill Nighy – Skylight – Wyndhams
Andrew Scott – Birdland – Royal Court

Best Featured Actress in a New Production of a Musical
Rachelle Ann Go – Miss Saigon – Prince Edward Theatre
Rebecca Trehearn – Dogfight – Southwark Playhouse
Jenna Russell – Urinetown – St. James Theatre
Zizi Strallen – Hairspray – Leicester Curve

Best Featured Actress in a New Production of a Play
Samantha Colley – The Crucible – Old Vic
Angela Lansbury – Blithe Spirit – Gielgud
Anna Carteret – Shakespeare in Love – Noel Coward Theatre
Carey Mulligan – Skylight – Wyndhams

Best Leading Actor in a New Production of a Musical
Jon Jon Briones – Miss Saigon – Prince Edward, London
Richard Fleeshman – Urinetown – St. James Theatre
Jamie Muscato – Dogfight – Southwark Playhouse
Warren Sollars – 20th Century Boy – Wimbledon

Best Leading Actor in A New Production of a Play
Richard Armitage – The Crucible – Old Vic Theatre
Martin Freeman – Richard III – Trafalgar Studios
Daniel Radcliffe – Cripple of Inishmann – Noel coward
Tom Bateman – Shakespeare In Love – Noel Coward

Best Leading Actress in a New Production of a Musical
Eva Noblezada – Miss Saigon – Prince Edward Theatre
Rosalie Craig – The Light Princess – National Theatre
Lucie Mae Sumner – Avenue Q – UK Tour
Jodie Prenger – Calamity Jane – Watermill Theatre

Best Leading Actress in a New Production of a Play
Anna Madeley – The Crucible – Old Vic
Angela Lansbury – Blithe Spirit – Gielgud
Gillian Anderson – A Streetcar Named Desire – The Young Vic
Billie Piper – Great Britain – National Theatre

Best Lighting Design in a New Production of a Play or Musical
Charles Balfour – Richard III – Trafalgar Studio
Adam Silverman – Urinetown – St James Theatre
Paule Constable – The Light Princess – National Theatre
Grant Anderson – The Addams Family – Assembly Hall (Edinburgh)

Best Long-Running Show in the West End
Les Miserables – Queens Theatre
Wicked – Apollo Victoria
Phantom of the Opera – Her Majesty’s Theatre
Matilda – Cambridge Theatre

Best Musical Direction (Fringe or regional)
George Dyer – Dogfight – Southwark Playhouse
John Donovan – Singin’ In The Rain – UK Tour
Ben Atkinson – Chicago – Leicester Curve
Zach Flis/Joanne Ho – The Addams Family – Assembly Hall (Edinburgh)

Best Musical Direction (West End)
Alfonso Casado Trigo – Miss Saigon – Prince Edward Theatre
Richard John – Dirty Rotten Scoundrels – Savoy
Martin Lowe – The Light Princess – National Theatre
Alan Williams – Urinetown – St. James Theatre

Best New Musical in the West End
Urinetown – St James Theatre
I Can’t Sing! – London Palladium
The Light Princess – National Theatre
Dirty Rotten Scoundrels – Savoy Theatre

Best New Play
Shakespeare In Love – Noel Coward Theatre
Let the Right One In – Apollo
1984 – Headlong/Almeida / Playhouse Theatre
Great Britain – National Theatre

Best New Production of a Musical (Fringe/Regions)
20th Century Boy – UK tour
Dogfight – Southwark Playhouse
Happy Days – UK tour
Sunny Afternoon – Hampstead Theatre

Best Performance in a Long-Running West End show
Carrie Hope Fletcher – Les Miserables – Queens Theatre
Gavin Creel – The Book of Mormon – Prince of Wales
Willemjin Verkaik – Wicked – Apollo Victoria Theatre
Rebecca Lock – Mamma Mia – Novello

Best Scenic Design in a New Production of a Play or Musical
Totie Driver, Matt Kinley & Adrian Vaux – Miss Saigon – Prince Edward Theatre
Soutra Gilmour – Richard III – Trafalgar Studios
Soutra Gilmour – Urinetown – St James Theatre
Rae Smith – The Light Princess – National Theatre

Best Sound Design in a New Production of a Play or Musical
Mick Potter – Miss Saigon – Prince Edward Theatre
Richard Hammarton – The Crucible – The Old Vic
Terry Jardine/Nick Lidster – Urinetown – St James Theatre
Tom Gibbons – 1984 – Headlong/Almeida/ Playhouse Theatre

Theatrical Event of the Year
West End Live – Trafalgar Square
50 Years on Stage (National Theatre) – Various Theatres
Les Mis V Phantom Charity Football Match – Bromley FC
Kerry Ellis’s return to Wicked – Apollo Victoria

Theatrical Venue of the Year
Southwark Playhouse
Donmar Warehouse
Leicester Curve Theatre
Edinburgh Playhouse

Understudy of the Year in any production of a Play or Musical
Carolyn Maitland – Miss Saigon – Prince Edward Theatre
Marc Antolin – From Here to Eternity – Shaftesbury
Emma Hatton – Wicked – Apollo Victoria theatre
Niall Sheehy – Miss Saigon – Prince Edward Theatre

Winners of the 2014 What’s on Stage Awards

BEST ACTRESS IN A PLAY
Helen Mirren – The Audience at the Gielgud (49.5%)
Anne-Marie Duff – Strange Interlude at the NT Lyttelton (16.8%)
Hayley Atwell – The Pride at Trafalgar Studios (12.4%)
Suranne Jones – Beautiful Thing at the Arts (15.0%)
Tanya Moodie – Fences at the Duchess (6.3%)

BEST ACTOR IN A PLAY
Daniel Radcliffe – The Cripple of Inishmaan at the Noël Coward (37.4%)
Ben Whishaw – Peter and Alice at the Noël Coward and Mojo at the Harold Pinter (19.9%)
James McAvoy – Macbeth at Trafalgar Studios (22.1%)
Lenny Henry – Fences at the Duchess (6.3%)
Rory Kinnear – Othello at the NT Olivier (14.2%) Continue reading “Winners of the 2014 What’s on Stage Awards”

CD Review: Frozen (soundtrack)

 

“It’s time to see what I can do”

Disney’s Frozen is as close to a stone-cold classic as they’ve produced in many a year, a loose retelling of Hans Christian Andersen’s The Snow Queen with a delightfully forward-thinking approach to gender roles and adorned with a cracking score by Kristen Anderson-Lopez and Robert Lopez. This last fact means it is as well-conceived a musical as one could hope for, something confirmed by the Oscar nomination for Best Song received by its lead song ‘Let It Go’, and the Broadway production that has now been confirmed to be under discussion.

Its theatrical credentials are further confirmed by the voice cast that was assembled for the film, erring to Broadway performers rather than established film stars and creating a wonderful mix that nails the quirky characterisations of the film. So Idina Menzel takes on the fierce Elsa, emotionally intense due to her enforced solitude but breaking free in the most glorious of ways as she finally embraces her powers in the epic number that is ‘Let It Go’, an instant classic that has me delivering all kinds of armography whenever it plays on the stereo. Continue reading “CD Review: Frozen (soundtrack)”

Theater Aid – Do They Know It’s Christmas 2013

It appears to be the year of theatrical covers of Do They Know It’s Christmas? and this one certainly ramps up the star wattage (and seems weirdly specifically designed for RevStan!) with its cast. Put together by current Les Mis stars Anton Zetterholm and Rob Houchen as part of their Room9 fundraising campaign for WaterAid. They’ve had an Advent calendar of videos (which can be viewed here) and today’s clip pulled together an incredible roster of performers from major theatre shows from across Europe and the USA. Watch the video below to see who you can spot, and then please visit their fundraising page to give what you can for this great cause.