This innovative production by ALP Musicals of Hilmi Jaidin’s new digital musical Shift+Alt+Right points towards the future of new musical theatre
“I can’t hear any of you, you’re on mute”
Theatre folk are nothing if not resourceful and adapting to the pandemic naturally demands creative thinking. But it takes something special to be at the vanguard of such a movement and that is where Adam Lenson and ALP Musicals find themselves as they lead new musical theatre into a brave new world.
Written and composed byHilmi Jaidin and directed by Lenson, Shift+Alt+Right is a brand new digital musical that was created to exist online in a self-described hybrid model that blends live performance from a remote company of four and video work from a technological hub, with no two shows being exactly the same. Continue reading “Review: Shift+Alt+Right”
We’re beginning to see the fruits of some more of the lockdown programming that has seen theatres across England respond in a variety of impressive ways
Nottingham Playhouse’s Unlocked Festivalcontinues to rocket up the must-see list as it announces more details. Their local writing commission has ended up with two winners – Wayward Thread’sHand Me Downand Lapelle’s Factory’s Shuck, both of which will now receive work-in-progress performances as part of the festival.
Casting has also been announced for James Graham’s Bubble, which will star the marvellous Pearl Mackie and the equally marvellous Jessica Raine. They join the likes of Mark Gatiss and Jade Anouka reading ghost stories on
Halloween, new work from Naomi Obeng and a concert starring Rosalie Craig,Sandra Marvin and Jodie Prenger.Continue reading “News: October UK theatre news update”
STAGES – a video game musical is a bold new musical pushing boundaries at the VAULT Festival
“How do you do this alone?”
Well the answer is you don’t, especially when the question is about new musicals. STAGES – a video game musicalarrives at the VAULTs as the first production from ALP, a company founded to develop and nurture artist-driven new British musicals with full acknowledgment that this is a show still on its journey, more than a work-in-progress but not yet the final product either.
Written by Christian Czornyj (Catch Me), STAGES draws inspiration from gaming to explore worlds of drama within the confines of its domestic context. At the heart of it lies neuro-diverse 16-year-old Aiden who loves video games, not least because they allow him a measure of control that he doesn’t have IRL. And as his mum has just been diagnosed with cancer, that’s a power he really wishes he possessed. Continue reading “Review: STAGES – a video game musical, VAULT Festival”
we struggled to differentiate between the many names beginning with C
we puzzled at why people wore their togas with one bit draped impractically over a forearm
we marvelled at how shiny everyone’s leather sandals seemed to be
and we grieved at how woefully the wonderful Siobhán Redmond was underused, at how indeed the whole production treats women
The second part of this summer’s Roman epic – Imperium II: Dictator – continues much in the same vein as the first. Mike Poulton’s adaptation capturing much of the sweeping vistas of Robert Harris’ Cicero novels, and Richard McCabe excelling as that noble Cicero who increasingly reveals himself as all-too–hubristically-human.
But as we reach the seventh hour of drama in this testosterone-heavy world, you can’t help but feel that the women, both of the time and of this company, are relatively hard done by. Between the male gaze of Harris to Poulton to Doran to McCabe, the relentless focus on the political over the personal doesn’t give us much sense of Cicero the man versus Cicero the politician. Continue reading “Review: Imperium II – Dictator, Gielgud”
Imperium I: Conspirator is the entertaining first part of the seven hours of a proper Roman epic from the RSC (thankfully with air-con in the Gielgud Theatre)
“Stupid people tend to vote for stupid people”
With the weather as it is, there are worse ways to spend a day in London than in the blissfully air-conditioned Gielgud Theatre. There, you can partake in the near seven hours of the two-part theatrical extravaganza that is Imperium. First seen at the RSC last winter, Mike Poulton’s adaptation of Robert Harris’ Cicero novels have a suitably epic feel to them and, anchored by an excellent lead performance from Richard McCabe, also have a real thrill factor.
The first part –Imperium I: Conspirator – follows Roman consul Cicero’s valiant efforts to defend the republic and the rule of law against rebellion and rivalries. And in the hands of McCabe, his silky rhetoric is a joy to behold as he secures his primacy, relying on political manipulation where necessary. Whether defeating Joe Dixon’s Catiline, trying to outmanoeuvre Nicholas Armfield’s slippery Clodius or pin down the wildly ambitious young buck named Julius Caesar (a superb Peter de Jersey), his actions are gripping. Continue reading “Review: Imperium I – Conspirator, Gielgud”
Some musicals are slow-burners. They may not hit you with their full force on first viewing but rather repay revisits and repeated listens to cast recordings to unfurl the depth of their appeal. So it was for me with Legally Blonde, and also with Ghost the Musical – a show I sawtwice in the West End and again on its 2013 tour, liking it more and more each time.
And a large part of that was the way in which Glen Ballard and Dave Stewart’s pop/rock-based score took its time to sidle its way into my affections, not necessarily the kind of music that would appeal to me but ultimately proving irresistible in its finest moments. And it is remarkably diverse too, pulling in from a wide musical palette whilst stamping out its own identity as something refreshingly different from your typical musical theatre score. Continue reading “Album Review: Ghost The Musical (Original Cast Recording 2011)”