Join stars of the West End stage for festive fun galore at West End Wonderland, a week of unique performances with plenty of stardust. All right in the heart of theatreland at the Welsh Chapel, Charing Cross Road.
Cabaret Whores, Sarah-Louise Young’s brilliant musical character comedy is packed with hilarious original songs, bitingly funny stories and lightning quick changes. Named as one of Time Out’s Top Ten Cabaret Acts of the Year, Sarah-Louise has appeared in the West End with Fascinating Aida, Julie Madly Deeply, La Soirée and Showstopper! The Improvised Musical.
Yes Queens is the West End’s first female-led improvised comedy night, featuring top UK improv talent from Olivier Award-winning productions such as Showstopper! The Improvised Musical, Austentatious and Mischief Theatre. Interactive Theatre at its best. Continue reading “News: West End Wonderland announced”
Episode Two of The Theatre Channel takes its Halloween theme and has a ball with it, with brilliant performances from the likes of Linzi Hateley, Jordan Shaw, Bradley Jaden and Sophie Isaacs
“It’s a matter of time before London belongs to us”
After a highly successful debut, Episode 2 of The Theatre Channel arrives and things have gone a bit Strictly with a theme week. Natch it is Hallowe’en that acts as a linking thread between the performances here but unlike Strictly, it is pleasingly effective as the production design (by Gregor Donnelly) gets to play with a more cohesive visual language across the show (credit too to director Bill Deamer and DP Ben Hewis), and the song selection gets to go a bit dark and dramatic.
That’s not to say that there’s not a variety of tone here. As befits this holiday, there’s a healthy dose of camp as a CGI-enhanced Ria Jones casts her spell over Into the Woods’ ‘Last Midnight’ and the camp drama of Frank Wildhorn’s ‘Life After Life’ from Dracula the Musical is well served by the relatively straight bat and sensational voices of Bradley Jaden and Sophie Isaacs. The same goes for Josh Piterman’s dangerously seductive take on ‘The Confrontation’ from Jekyll and Hyde. Continue reading “Review: The Theatre Channel – Episode Two”
Fourth Wall Live and The Hippodrome Casino London are thrilled to announce a series of over 40 shows at the Hippodrome Casino this winter. The season runs from 18 November every week for 5 weeks and will include two shows nightly at 7.00pm and 9.00pm.
The series will feature stars from the world of musical theatre, comedy and magic with all tickets priced £20. Audiences will be safely socially distanced following the most up-to-date safety guidelines. There will be 130 tickets on sale per show and tickets go on sale soon. Sign up at www.fw-live.com for advance presale and further announcements. Continue reading “News: the Hippodrome to host music, magic and comedy this winter”
Full casting has been announced for Queen’s Theatre Hornchurch’s upcoming production of Misfits, an innovative new hybrid of live theatre and digital content, playing 12-22 November 2020. Bookers will purchase a ticket which will allow them the choice of watching the show be performed live onstage in front of a socially
distanced audience or streamed to their homes, right up until the day of the show.
Misfits intertwines four inspirational tales of Essex resilience to make an unmissable world premiere by four of the region’s most exciting playwrights: Anne Odeke, Guleraana Mir, Kenny Emson and Sadie Hasler and will be co-directed by QTH Artistic Director Douglas Rintoul and Emma Baggott. The cast is Anne Odeke, who is also writing part of the piece, Gemma Salter, Mona Goodwin and Thomas Coombes. Continue reading “An assortment of October theatre news”
Crazy Coqs, Soho’s unique live entertainment venue within the Brasserie Zédel complex, announces a new limited August programme and a full September programme, offering both live shows and live-streamed shows.
Janie Dee, Maria Friedman, Lauren Samuels, Sophie Evans, Cedric Neal, Nerina Pallot and Jay Rayner all feature in the new season.
The live shows will be performed to a reduced capacity with a socially distanced seating plan, where the front row is at least 2.5m from the stage, and all table groupings are at least 1m apart. There will be a maximum of three performers on stage to maintain social distancing. Customers will be invited to purchase tables, rather than individual tickets, to comply with the ‘reduced social bubble’ government advice.
For more information on what Health and Safety measures Crazy Coqs are implementing to make your visit as safe as possible, please visit the Brasserie Zedel website.
Several live shows will also be live streamed in partnership with Fane Online, giving audiences the chance to watch broadcast quality Crazy Coqs shows from the comfort of their own home.
The full programme can be found at Crazy Coqs’ new website: https://www.brasseriezedel.com/crazy-coqs/
Subject to government guidelines, the programme from October onwards will be announced in due course. Continue reading “News: Crazy Coqs announces August and September programme”
(Wo)men Rule Broadway [West End Edition] sees women take on the male musical theatre songbook at the VAULT Festival
“If you strip away the myth from the man…”
There’s no arguing that the musical theatre songbook is skewed in favour of men and with theatre’s enduring love of a revival, that means the opportunities for women to express the fullness of their selves onstage have always been limited (hell, even as I write this a man has been announced to play Mother Superier in the Edinburgh run of Sister Act…).
This is the world US performers Genevieve Flati and Kelly Rogers are trying to reshape just a little with their show (Wo)men Rule Broadway [West End Edition], making its international debut here at the VAULT Festival. More than just a gender-reversed concert, Flati and Rogers compere the evening with a running commentary of how and why these songs have been chosen, exploring and explaining the boundaries being broken here. Continue reading “Review: (Wo)men Rule Broadway [West End Edition], VAULT Festival”
Mr. Henry Moss – QUADRUPLE THRE4T makes for a fun hour of queer Aussie humour at the VAULT Festival
“Did you know one in five artists are an absolute dickhead”
It’s a shame Mr. Henry Moss – QUADRUPLE THRE4T only ran for one weekend at the VAULT Festival as his brand of irrepressibly warm cabaret has a real uplifting charm about it. It’s a relatively simple format – would-be musical theatre legend Harry Ledgerman is launching his new celebrity memoir with his talent agency manager wife Kristal Lee by his side and any number of friends who’ve come along to also share their secrets to becoming successful.
Naturally though, success is relative and Moss’ collection of misfits – for he plays them all – are all wonderfully deluded in their own special way. Thus the scene is set for a rapidfire kick ball change through many aspects of showbusiness, accompanied by some nifty moves (check that Chorus Line choreography) and some uncanny vocal performances as Adele, Ricky Martin and Britney sit alongside Elphaba, Piaf and Dame Judi herself. Continue reading “Review: Mr. Henry Moss – QUADRUPLE THRE4T, VAULT Festival”
Invisible Cabaret – Let’s Get Visible tackles mental health awareness through the medium of burlesque at the VAULT Festival
“You can feel whatever you want to feel, within reason”
One of the more pronounced trends at this year’s VAULT Festival has been a multiplicity of work promoting mental health awareness, both in and outside of the officially curated Let’s Talk strand. There’s still a long way to go in fully destigmatising conversations about these difficult topics but it is gratifying to see so many creative dedicated to the cause.
Among that group is Invisible Cabaret, a cabaret and burlesque troupe whose show Let’s Get Visible is tackling these taboos in their own inimitable style. And though burlesque may not seem like the most obvious artform in which to do so, it proves surprisingly effective here, not least in the skilled compering from Rosie Verbose and her magnificent headpiece. Continue reading “Review: Invisible Cabaret – Let’s Get Visible, VAULT Festival”
Jinkx Monsoon & Major Scales’ cabaret show The Ginger Snapped mixes music, musings on mental health and moments of queer solidarity at the Leicester Square Theatre
“Take it from the whore’s mouth”
The best cabaret shows always find the sweet spot between concert and confessional and in The Ginger Snapped, Jinkx Monsoon and Major Scales manage to do just that. As a promised show disintegrates into a pseudo-therapy session, the pair delve into the murky waters of fame and fabulousness to reveal some of the toll it can take on one’s mental health.
Winner of season five of RuPaul’s Drag Race, Monsoon’s strengths are immediately apparent with the opening number which encapsulates everything about the kind of performer she is. Bantering with the audience, cracking jokes, working in all kinds of interplay with accompanist Scales and delivering some straight-up powerhouse vocals, there’s no mistaking this is the real deal. Continue reading “Review: Jinkx Monsoon & Major Scales – The Ginger Snapped, Leicester Square Theatre”
Queer feminist theatre/cabaret hybrid Lipstick: A Fairy Tale of Iran leaves me dissatisfied at the Omnibus Theatre
Oh I really wanted to love this but I have to say I was rather disappointed. When a show self-describes as equal parts theatre and drag cabaret, you have to hope that it will achieve both aspects and aim to exceed expectations too but ultimately, it was a case of sashaying away for Lipstick: A Fairy Tale of Iran.
There’s no lack of ambition here, not at all. Sarah Chew (writer and director) slips between Tehran, Derry and London as she explores cultural stereotyping, censorship, artistic freedom, sexual freedom, Iranian politics, Soho politics and even then I feel like I’ve missed tons out. Packed into a show which wants to blend cabaret and theatre, it just feels like too much. Continue reading “Review: Lipstick: A Fairy Tale of Iran, Omnibus Theatre”