Priscilla Queen of the Desert will restart its tour at the Everyman Theatre, Cheltenham on 23rd June. Miles Western will take on the role of Bernadette, with Nick Hayes as Adam/Felicia and Edwin Ray playing Tick/Mitzi. They are joined by Daniel Fletcher (Bob), Rebecca Lisewski (Marion), Kevin Yates (Miss Understanding), Gracie Lai (Cynthia) and Ronan Burns (Frank). The Divas will be played by Claudia Kariuki, Rosie Glossop and Aiesha Pease, and the cast is completed by Emma Katie Adcock, Jak Allen Anderson, Allie Daniel, Martin Harding, Clarice Julianda, Jemima Loddy, Nathan Ryles, Tom Scanlon and Jermaine Woods.Continue reading “News: a whole load of UK musical tour casting announcements”
Auburn Jam Music are delighted to be releasing ‘You Will Be Found’ by #CheerUpCharlie & West End Friends, a fundraising charity single in aid of youth charity The Diana Award, on Sunday 15 November to tie in with the start of National Anti-Bullying Week (16-20 November).
Eugenius returns to The Other Palace having found a hugely enthusiastic cult audience; it really isn’t unproblematic for a new musical though
“We’re not nerds, we’re geeks”
Complete with superfan Sundays and audience members who have nailed the choreography, Eugenius‘ return to The Other Palace is a classic piece of fan service. I’m not so sure I count myself as one of those fans though, ultimately I want something more forward-thinking from my new musical theatre. Read my 2.5 star review for Cheap Theatre Tickets here.
Running time: 2 hours 20 minutes (with interval) Photo: Scott Rylander Eugenius is booking at The Other Palace until 20th October
With a singing style that is as strong as Theresa May’s record on supporting the police and an accent that is as stable as the content of her manifesto, it’s a bold move to make Miranda Hart the above the title star of this production of Annie, the first in London this millennium. To be fair though, unlike May she’s willing to work well with others, gamely throwing herself into harmonies and hoofing around in vaudevillean-style routines, but her performance is too close to the warmth of her TV persona to ever really convince of the darkness at the heart of Miss Hannigan.
Equally, it’s hard to feel that the West End is in real need of Annie and all its old-fashioned ways. Nikolai Foster’s production, seen on tour in the UK over the last year, has its certain charm but it is hard to get excited by any of it. Colin Richmond’s jigsaw puzzle of a set design misguidedly evokes thoughts of Matilda when in reality there’s nothing that fresh about it; Nick Winston’s choreography similarly promises much but ends up reaching for traditional touchpoints which end up underwhelming with the relatively small company at hand here, as evidenced in the small scale of ‘N.Y.C.’. Continue reading “Review: Annie, Piccadilly Theatre”
“If I said that I would listen, might that ease the doubt?”
A theatre I hadn’t been to before and a musical I hadn’t heard before – the offer to go and see the Watermill’s adaptation of the 2000 West End show The Witches of Eastwick seemed like a no-brainer. But though I am glad to be able to tick both of those boxes, I have to admit to being rather disappointed with the show and such disillusionment is only magnified when one has made a not inconsiderable effort to go out of town to see a show. As with many of the productions at this venue, it is an actor-musician led revival, directed here by Craig Revel-Horwood and so one is habitually left in awe at the amount of talent being displayed on this cramped stage, I’m just not convinced that this musical is worth it.
Written by John Dempsey and Dana P Rowe from John Updike’s novel of the same name, the story focuses on three New England women unhappy with their lot in life who get swept up into the influence of newcomer Darryl Van Horne, whose demonically charming ways transform all their lives as he seduces them one by one. But though it may be better the devil you know, the changes he wreaks threaten to go too far and it proves no easy task to put this particular genie back into the bottle. Tom Rogers’ set design works wonders in such an intimate space, not least with a well-executed flying scene, too many aspects of the production felt problematic to me. Continue reading “Review: The Witches of Eastwick, Watermill Theatre”
Best New Play
Constellations by Nick Payne – Duke of York’s Theatre
The Audience by Peter Morgan – Gielgud
The Curious Incident of the Dog in the Night-Time by Simon Stephens, adapted by Mark Haddon – National Theatre Cottesloe / Apollo
This House by James Graham – National Theatre Cottesloe / Olivier
Best New Musical
Loserville – Garrick
Soul Sister – Savoy
The Bodyguard – Adelphi
Top Hat – Aldwych
“But when the thermometer goes right up, and the weather is sizzling hot…”
So confident in their run of successful summer musicals is Chichester Festival Theatre that the transfer forKiss Me, Kate (it will play at co-producers London’s Old Vic from 20th November to 2nd March) was announced before it had even opened at its native theatre. But with experienced hands Trevor Nunn directing and Stephen Mears choreographing, Cole Porter’s ever-spry music and a cast headed up by leading light of the British musical theatre scene Hannah Waddingham, it was a reasonably safe bet.
And unsurprisingly, it is one that has paid off. The show follows a theatre company putting on a musical version of Shakespeare’s The Taming of the Shrew, where the feisty relationship between Petruchio and Katherine is echoed by the conflict between director and leading man Fred and his ex-wife Lilli who is playing opposite him. As the offstage drama threatens to overwhelm the onstage, some shenanigans from another member of the company in a gambling room throws matters further into disarray. Continue reading “Review: Kiss Me, Kate, Chichester Festival Theatre”