News: The National Theatre announces 2021-22 programming and launches National Theatre Together

The National Theatre announces new programming and launches a major new campaign for its future, National Theatre Together

The National Theatre has announced its programming until the start of next year with productions on all three South Bank stages as well as three major UK tours, two productions on Broadway, a return to cinemas, and a new feature film to be broadcast on television this autumn. In the week the theatre reopened for audiences again, six new productions were announced, and five productions halted by the pandemic were confirmed to return to the South Bank.  

It has also announced the public launch of National Theatre Together, a new campaign with people at its heart, highlighting the importance of creativity and collaboration with theatre-makers and communities, for young people and audiences. The campaign cements the NT’s commitment to the people of this country and will raise vital funds for the theatre’s ambitious recovery post-pandemic.  Continue reading “News: The National Theatre announces 2021-22 programming and launches National Theatre Together”

Cast and creatives announced for MTFestUK 2021

Paul Taylor-Mills has confirmed the line-up of award-winning and international performers and creatives assembled for next month’s MTFestUK 2021.

Due to open at the Turbine Theatre in London from 17-29 May 2021 before embarking on a digital tour from 31 May until 4 July, the third edition of the annual celebration of new musical theatre will showcase eight new musicals. Continue reading “Cast and creatives announced for MTFestUK 2021”

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

Review: White Christmas 2019, Dominion Theatre

The reliable charms of White Christmas reappear at the Dominion Theatre

“When what’s left of you gets around to what’s left to be gotten, what’s left to be gotten won’t be worth getting, whatever it is you’ve got left.”

White Christmas is a show that keeps returning and consistently attracts casts that I can’t quite resist. I’ve seen it in Manchester, Leeds and in this very theatre five years ago. So NIkolai Foster’s production holds little surprise for me now, insomuch as any production of White Christmas can surprise. Instead the feeling is more of cocoa-warm comfort, a reliability underscored by fun performances from leads Danny Mac, Dan Burton, Danielle Hope and Clare Halse. Read my 4 star review for Official Theatre here. 

Running time: 2 hours 30 minutes (with interval)
Booking until 4th January

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”

Review: An Officer and a Gentleman, Curve

Emma Williams reconfirms her star status in this 80s musical adaptation of An Officer and a Gentleman at Leicester’s Curve Theatre ahead of a UK tour

“Way to go, Paula! Way to go!”

From its opening number (which provides an unsettling reminder that Status Quo actually had a decent tune or two), this major new musical of An Officer and a Gentleman shimmers with a sense of real quality. Some might demur at the notion of a movie remake peppered with a random assortment of pop songs from the 1980s but the resulting piece of theatre is highly enjoyable.

This is down to the integrity and craft of Nikolai Foster who rightly takes this source material (book by Douglas Day Stewart and Sharleen Cooper Cohen from his original screenplay) seriously. We may be in 1982 but there’s no jokey visual gags about that decade here, just an over-riding sense of life on the edge for the working class community of Pensacola, Florida, looking on at the US Naval Aviation Training Facility that dominates their city. Continue reading “Review: An Officer and a Gentleman, Curve”

Re-review: Follies, National Theatre

 

“Darling, shall we dance?”

Not too much more to say about Follies that I didn’t cover last time, suffice to say it’s just such a luxuriously fantastic show and I think I could watch it over and over! The head-dresses! Everything Janie Dee does! The orchestra! How no-one seems to be falling down that staircase! The staging! The shade of mint green in Loveland! The Staunton’s icy bitterness in ‘Losing My Mind’! The amount that Josephine Barstow has now made me cry, twice! The Quast! Just get booking now, while you still can.

Running time: 2 hours 20 minutes (without interval)
Booking until 3rd January, best availability from 6th November

Follies will be broadcast by NT Live to cinemas in the UK and internationally on Thursday 16 November.

 

Review: Follies, National Theatre

An utterly majestic production of Sondheim’s Follies is a masterpiece for the National Theatre

“All things beautiful must die”

Well this is what we have a National Theatre for. For Vicki Mortimer’s set design that both stretches towards the heights of the Olivier and lingers some 30 years back in the past; for the extraordinary detail and feathered delights of the costumes; for the lush sound of an orchestra of 21 under Nigel Lilley’s musical direction; for a production that revels in the exuberance and experience of its cast of 37. And all for what? For a musical that, despite its iconic status in the theatre bubble, is more than likely to raise a ‘huh?’ from the general public (at least from the sampling in my office!).

Stephen Sondheim (music and lyrics) and James Goldman’s (book) Follies is a show that has a long history of being tinkered with and more often than not, is as likely to be found in a concert presentation (as in its last London appearance at the Royal Albert Hall) as it is fully staged. Which only makes Dominic Cooke’s production here all the more attractive, not just for aficionados but for the casual theatregoer too. Using the original book with just a smattering of small changes, this is musical theatre close to its most luxurious, and a bittersweetly life-affirming thrill to watch. Continue reading “Review: Follies, National Theatre”