The Really Useful Group has announced the full cast for the forthcoming production of Andrew Lloyd Webber’s Cinderella, featuring music by Andrew Lloyd Webber, book by Academy Award winning Emerald Fennell (Best Original Screenplay Oscar at last Sunday’s ceremony) and lyrics from David Zippel. The brand new musical will open at the Gillian Lynne Theatre on Wednesday 14 July 2021, with previews from Friday 25 June 2021.
Joining the previously announced cast will be Rebecca Trehearn, who will play The Queen, Georgina Castle and Laura Baldwin as Cinderella’s stepsisters Marie and Adele and Gloria Onitiri, who will play The Godmother. They join Carrie Hope Fletcher, as title character Cinderella in the highly anticipated new production, as well as Ivano Turco as Prince Sebastian and Victoria Hamilton-Barritt playing The Stepmother. Continue reading “News: Cinderella reveals the full cast who will be going to the ball”
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
Nobody’s on nobody’s side – an all-star cast can’t save this game of Chess from itself, for me at least
“From square one I’ll be watching all sixty-four”
It’s taken over 30 years for Chess to return to the West End (though it was seen at the Union in 2013) and though it has a huge amount of resource thrown at it in Laurence Connor’s production for English National Opera, it doesn’t necessarily feel worth the wait. An 80’s mega-musical through and through with an intermittently cracking score from ABBA’s Benny Andersson and Björn Ulvaeus, Richard Nelson’s book hasn’t aged particularly well and bears the hallmarks of the substantial tinkering it has had at every opportunity.
It’s not too hard to see why it has needed the tinkering. The mix of Cold War politics told through the prism of rival US and Soviet chess Grandmasters, love triangles and power ballads is a tricky one to get right and part of the problem seems to be just how seriously to take it all. On the one hand, the chess matches are backgrounded with montages of the real-life tensions of the 80s; on the other, scenes that take us through the various locations of the tournaments are a cringeworthy riot of cultural stereotyping that revel in their utter kitsch. Continue reading “Review: Chess, London Coliseum”
“Anything can happen if you let it”
It is becoming increasingly clear that a show isn’t a show if a Strallen isn’t involved, even as an usher, and it is now the turn of Zizi to ascend to the role of leading lady, taking the title role in a mammoth UK tour of Mary Poppins which has started at the Curve in Leicester and which is already booking through to this time next year. And it isn’t too hard to see why such confidence has been invested in the future of the show when it is as stupendously good a piece of musical theatre as this.
I never got round to seeing the show in the West End – Julian Fellowes’ book building on P.L. Travers’ original books as well as the Disney film and composing duo Stiles + Drewe adding to the iconic score by the Sherman Brothers – and it’s an age since I saw the film so it really did have all the glorious impact of being a fresh new show for me but even if you did manage to see it, the lure of this fresh new production ought to tempt you along to one of the cities where it is playing to relive the joy. Continue reading “Review: Mary Poppins, Curve”
“If love affairs you like
with young bears you like
why nobody will oppose”
Sheffield Theatre’s production of Anything Goes is launching on a simply mammoth tour of the UK – over 30 venues in 10 months – so it’s a pretty good job that it’s a largely excellent production. It’s rather amusing to note the number of reviews that mention that this classic show is over 80 years old yet still point out that the much revised book isn’t anything special at all but merely a framework on which to hang some of the most glorious songs of Cole Porter’s career. Given the average age of the audience, this will not come as a surprise to anyone, but there’s much here in Daniel Evans’ production to commend it to the young’uns too.
Alistair David’s choreography is a real delight, a constant breath of fresh air on which the show floats giddily, whether it’s the leads fooling about as if they’re Fred Astaire, sailors mooning over bathing beauties, or the whole company possessed with a spiritual glee. The eye is of course drawn to the stunning Act 1 finale set to the title track (which will always belong to Kate Capshaw’s bizarrely translated version in Indiana Jones and the Temple of Doom, my first experience thereof) which is a jaw-dropping, shoe-shuffling, tap-dancing dream, cleverly referencing classic moves but also firmly establishing its own identity by keeping Debbie Kurup’s sensational Reno Sweeney front and centre. Continue reading “Review: Anything Goes, New Wimbledon Theatre”
I realise I’m just adding (belatedly) to the plethora of 2015 features already published but so many of them trod the boringly familiar ground of forthcoming West End shows (and in the Evening Standard’s case, managed to recommend booking for three shows already sold out from their list of six). So I’ve cast my net a little wider and chosen a few random categories for just some of the shows I’m recommending and looking forward to in 2015.
Continue reading “Looking ahead to 2015”
“You’ll declare it’s simply topping to be there”
On the face of it, Top Hat should have been a rip-roaring extravaganza of a show that tapped and waltzed and strutted its way right into my affections, featuring some of my favourite things like a healthy selection of classic songs from the Irving Berlin back catalogue and the kind of choreography from Bill Deamer that genuinely makes me wonder if it isn’t too late to find my inner Billy Elliot (don’t worry, I know it is…). But at this Tuesday matinée, I found it was particularly topping to be there and I was sadly left a little underwhelmed by the whole shebang.
It seems perverse to comment on the plot of a musical being far-fetched, especially one based on an old-school Broadway film as this is, but the book here – adapted by director Matthew White and Howard Jacques – is criminally lame. The story is a whole lot of silliness, which is fine – girl complains about guy dancing in the room above her, guy flirts with girl, girl gets cold feet when she think s guy is married to her best friend. Oh, and the guy is a leading Broadway star about to open a show. Where the problem lies is in the incredibly dated humour, which one can just about explain away as a period piece, but which just sags and droops with lame joke after overblown stereotype which was lapped up all too easily by this audience, of whom I was the youngest member by quite some margin. Continue reading “Review: Top Hat, Aldwych Theatre”
Though the temptation is strong, and the actuality may well prove so, I don’t think I will be catching quite so much theatre in 2012 as I did last year. I could do with a slightly better balance in my life and also, I want to focus a little more on the things I know I have a stronger chance of enjoying.
So, I haven’t booked a huge amount thus far, especially outside of London where I think I will rely more on recommendations, but here’s what I’m currently looking forward to the most: Continue reading “Shows I am looking forward to in 2012”