Review: Sunset Boulevard in Concert, Curve Leicester at home

As a piece of digital theatre, Curve Leicester’s Sunset Boulevard in Concert plays excitingly with the possibilities of this developing form 

“There’s nothing else – just us and these cameras”

Damned if do, damned if you don’t. Curve Leicester boldly took steps in the autumn to reimagine their auditorium in order to be able to mount a post-Lockdown #1 season of socially-distanced concert performances of previous hits. The ongoing mismanagement of the pandemic and the dance of the tiers put paid to those plans, even as technical rehearsals had already started but in a move that would please Norma Desmond herself, Sunset Boulevard in Concert has still found its way to the spotlight.

Nikolai Foster’s reconception of his initial adaptation of his original production sees him lean heavily into Sunset Boulevard’s cinematic origins, taking full advantage of the lack of audience to ditch the traditional notions of semi-staged concerts and create an inventive fusion of theatre and film. And with those restraints fully loosed, this production unfurls across every inch of the auditorium – Norma first appears from the back of the circle, Joe’s rooms are tucked into the fly tower, the ensemble watch impassively from the empty seats in an almost Brechtian manner of observation. Continue reading “Review: Sunset Boulevard in Concert, Curve Leicester at home”

UK theatre casting news – November update

Theatre Royal Bath will reopen on 3 December with a revised performance schedule for Oleanna and Copenhagen, the final two plays in the theatre’s Welcome Back Season.

David Mamet’s provocative  drama Oleanna, directed by Lucy Bailey will star Rosie Sheehy  and Jonathan Slinger, who replaces John Heffernan in the role of John. The play will now run in Theatre Royal Bath’s Ustinov Studio from 3 December to 22 December and again from 4 January to 16 January 2021. Reduced capacity at the Ustinov Studio will allow for an audience of 60 persons per performance.

The November run of Michael Frayn’s multi award-winning  Copenhagen has been postponed until the new year when it will play Theatre Royal Bath’s Main House from 20 January to 6 February 2021.  Directed by Polly Findlay it will star Haydn Gwynne, Philip Arditti, and in a change to original billing of Michael Gould, Malcolm Sinclair. Continue reading “UK theatre casting news – November update”

News: The Prince of Egypt extends its West End run

In a bold move, The Prince of Egypt has extended its West End run until 4th September 2021 with provisional plans to reopen from 1st November 2020 in accordance with government advice.

It feels hopeful at best, not least because it wasn’t the show of my dreams nor an obvious commercial success, but I suppose making plans is a step in the right direction even if those plans ultimately have to change.  Continue reading “News: The Prince of Egypt extends its West End run”

Album Review: The Prince of Egypt (Original Cast Recording)

There’s two songs I could listen to for ages on the Original Cast Recording of The Prince of Egypt but I could easily leave the rest

“No power on earth can change that, brother”

There was a moment in the last couple of days as I listened to ‘Make It Right’ for the umpteenth time that I wondered whether I’d been a bit harsh to The Prince of Egypt when it opened in late February. I’d made the note ‘lovely duet’ at the time and on record, the sweet/strong combination of Liam Tamne and Luke Brady’s voices is an absolute winner as their fraternal connection is tested over soaring contrapuntal melodies and an orchestral backing that flows as effortlessly as the Red Sea

So too, the show’s most famous song (so much so that the publicity campaign basically centred on it) ‘When You Believe’ has a choral majesty that is undeniable. Alexia Khadime and Christine Allado lead the company with real style – the interplay of their voices in the middle chorus is spine-tingingly lovely – and the incorporation of the Hebrew-sung bridge (led by Mia Lakha) is a rare graceful moment of geo-specificity that works. Continue reading “Album Review: The Prince of Egypt (Original Cast Recording)”

Review: The Prince of Egypt, Dominion Theatre

Despite an excellent cast, The Prince of Egypt might be in need of a miracle at the Dominion Theatre

“For the rest of my life I’ll have to live with this”

Way way back, many centuries ago, but a little bit more after the Bible began, someone decided that Old Testament justice really was the way forward for musical theatre. And so here we have a musical that features two ethnic massacres of children but it’s all OK if you sing a ballad afterwards to atone (even if you’ve sanctioned the murder of your de facto nephew) and others will then tell you it’s ok “when you believe”.

The Prince of Egypt picks up a few generations after Joseph and co set up shop in the land of the Nile, where the Hebrew population is now spiralling out of control for the Egyptian authorities. Enlightened thinking about immigrants hasn’t quite reached these shores, so the Hebrews find themselves enslaved and upon the order of the slaughter of all their newborn boys by a grumpy Pharoah Seti, an intrepid Yocheved pops her baby into a basket and hopes that he’ll get picked up by a queen rather than a crocodile.  Continue reading “Review: The Prince of Egypt, Dominion Theatre”

News: cast of The Prince of Egypt announced

Full casting has been announced for the arrival of The Prince of Egypt at the Dominion Theatre next year.

Joining the previously announced Luke Brady (Moses), Liam Tamne (Ramses), Christine Allado (Tzipporah), Alexia Khadime (Miriam), Joe Dixon (Seti), Debbie Kurup (Queen Tuya), Gary Wilmot (Jethro), Adam Pearce (Hotep), Tanisha Spring (Nefertari) and Silas Wyatt-Barke (Aaron) will be Mercedesz Csampai (Yocheved), Simbi Akande, Casey Al-Shaqsy, Joe Atkinson, Danny Becker, Felipe Bejarano, Pàje Campbell, Adam Filipe, Soophia Foroughi, Natalie Green, Jack Harrison-Cooper, Rachael Ireson, Kalene Jeans, Christian Knight, Jessica Lee, Oliver Lidert, Jay Marsh, Scott Maurice, Carly Miles, Sam Oladeinde, Alice Readie, Christopher Short, Ricardo Walker, Danny Williams, Niko Wirachman and Sasha Woodward.

The Prince of Egypt has music and lyrics by Stephen Schwartz and a book by Philip LaZebnik and is based on the DreamWorks Animation film of the same name. It will have direction by Scott Schwartz and is choreographed by Sean Cheesman with set design by Kevin Depinet, costume design by Ann Hould-Ward, lighting design by Mike Billings, sound design by Gareth Owen, projection design by Jon Driscoll and illusion design by Chris Fisher. Orchestrations are from August Eriksmoen with musical supervision and arrangements by Dominick Amendum, musical direction by Dave Rose and casting by Jim Arnold.

Review: Evita, Open Air Theatre

Jamie Lloyd’s reinvention of Evita at Regent’s Park Open Air Theatre proves a storming success

“I could find job satisfaction in Paraguay”

If this was the production of Evita that was forever touring the UK, then we could all be a hell of a lot more enthused about the future of UK theatre. Bill Kenwright might have the business side locked down with dull predictability but at the Open Air Theatre, Jamie Lloyd is unleashing a torrent of creative genius which proves inordinately exciting to witness.

He offers up a complete reimagining of the Andrew Lloyd Webber and Tim Rice musical and one which feels sparkingly fresh in every single aspect. The open bleachers of Soutra Gilmore’s design which turns our focus to the human relationships here, the striking physicality of Fabian Aloise’s choreography with its haunting screaming faces and way-cool domino effect points to societal trauma and most crucially, Lloyd allows the shadow of populist politics to loom large. Continue reading “Review: Evita, Open Air Theatre”

Review: Knights of the Rose, Arts

Less a rock musical and more Now That’s What I Call Music 1066, Knights of the Rose at the Arts Theatre threatens a return to the dark ages 

“Would you tremble if I touched your lips?
Or would you laugh?”

The website for Knights of the Rose leads with the quote “is this the most epic rock musical?” and bold as that is, well, the answer is most definitively no. That  much is evident from the start as a bunch of medieval knights start doing some slo-mo running on the spot as they return from war. But even as they dream of the ale to be drunk, the Bon Jovi songs to be sung, the wenches to be laid and other such Olde Worlde fare, a Knight’s lot is never done and a new battle upends their world once again. Sacrifice! Betrayal! Bonnie Tyler! In a time when Bat Out Of Hell can come back, maybe the rock musical is having a moment.

But wait, what the hell is Enrique Iglesias doing in here? Not only is ‘Hero’ a fantastically misjudged choice of song, the way in which its first line is used to lead into the track snaps you right out of the world of the show, as evidenced by an audience rolling in the aisles. It was the funniest thing I’ve seen in a theatre this year made all the more so by the fact that it was not meant to be at all hilarious.  An edited snippet of No Doubt’s ‘Don’t Speak’ feels similarly incongruous, ‘He Ain’t Heavy He’s My Brother’ pops up in a po-faced moment and overall, as the playlist starts to sound like Now That’s What I Call Music 1066, you begin to worry for the identity of this show which ultimately takes the idea of being a rock musical as seriously as fancy dress. Continue reading “Review: Knights of the Rose, Arts”