There’s always a new or different way to do things, no matter how ¯\_(ツ)_/¯ London-based commentators get, and so the news of Europe’s first ever pop-up Shakespearean Theatre – SHAKESPEARE’S ROSE THEATRE – feels like a good thing to me. Taking up residence in York this summer, the Rose looks set to replicate something of the Globe experience, groundlings and all, for a whole new audience.
The 10-week season will consist of four plays, performed in repertory by two companies of actors
A tragedy – Macbeth
A comedy – A Midsummer Night’s Dream
A tragic love story – Romeo and Juliet
A history – Richard III
Romeo and Juliet and Richard III will be directed by the award-winning Lindsay Posner, while York Theatre Royal’s Olivier Award-winning Artistic Director Damian Cruden will direct Macbeth, and Associate Director Juliet Forster will be putting her stamp on A Midsummer Night’s Dream.
And particularly pleasing to see is that even in this setting which might be perceived as traditional as it gets, there’s a playfulness to the approach to the plays (from Cruden and Forster at least). Antony Bunsee and Amanda Ryan play Theseus and Hippolyta but in a bit of a switch, will also play Titania and Oberon respectively. There’s a female Puck too, plus Amy Lennox as Hermia which leaves me in no doubt as to which of these will be my priority to see! Continue reading “News: Cast and creative team announced for Shakespeare’s Rose Theatre in York”
Live At Zédel, Soho’s unique live entertainment concept at The Crazy Coqs, will host a week-long residency by acclaimed international songwriter Scott Alan, who will be joined by a host of special musical theatre guests each evening. Audiences will be treated to Scott, along with his special guests singing tunes from all 7 of his recordings and brand new songs from his upcoming release, Lifeline. Continue reading “Scott Alan announces Live at Zédel residency with special guests in 2018”
Rice seemed to consider Shakespeare a puzzle that needed unlocking for (new) audiences but you were left wondering if there was a touch of square peg round hole syndrome in the way the plays were manhandled. It is tempting to think that Terry will be a smoother fit whilst maintaining a sense of adventurousness (she played Henry V after all) although this is, of course, pure conjecture. Still, exciting times ahead. Continue reading “Round-up of news, treats and other interesting things”
Across its two discs and twenty-three tracks, there’s an awful lot of whimsy to Alexander S Bermange’s latest compilation album Wit and Whimsy and not quite enough wit to sustain it. Bermange is a composer who has had as much success writing comic songs for radio as he has in straight-up musical theatre (the two shows of his that I’ve seen –The Route to Happinessand Thirteen Days – were both part of festivals).
It’s no secret that I’m a big Ivo van Hove fan, I’ve been to New York and Amsterdam several times to see his work as regular readers will know, so booking for his latest show to hit London – Lazarus– was a no-brainer. At the same time though, I have to say that the music of David Bowie has played little part in my life, so a musical continuing the story of his 1976 film The Man Who Fell To Earth and based on his songs doesn’t actually carry the same appeal that I might normally have with a van Hove show.
Of course, the shock news of Bowie’s passing as the show opened in New York this past winter lends Lazarus an especial charge, featuring as it does songs from his later albums and songs that were written for this project, among some of the last he ever penned. To an outsider though, it makes for strange experience with a strong sense of mood prevailing over a defined narrative progression, Enda Walsh co-writing a book with Bowie that is labyrinthine in its own fractured, hallucinatory way. Continue reading “Review: Lazarus, King’s Cross Theatre”
This trio of album reviews covers Peter Pan A Musical Adventure, The Confession Room and Marie Christine
“Would I oblige? I obliged”
Michael John LaChiusa is one of those composers of the new American musical theatre mould, or maybe even beyond, in adopting a dense and complex compositional style that means his work hasn’t always had the credit it deserves. This original Broadway cast recording of his 1999 show Marie Christine feels like a case in point – a Tony-nominated book and score that has rarely been revived, never mind made it to the UK. An adaptation of the Medea story that relocates it to 1890s New Orleans, it is blessed by a stunning central performance from Audra McDonald as a remarkably vicious leading lady. The score is made up of fragmented pieces of music rather than conventional notions of what we would consider a song but its operatic drama hits the mark for me. And I’d love to see it the UK some time soon please… Continue reading “Album Reviews: Peter Pan A Musical Adventure / The Confession Room / Marie Christine”