I’m winding down the daily postings now but I will fire up any particular lockdown treats that grab my especial attention. For now, though, Marisha Wallace’s gorgeous hope for ‘Tomorrow’
On the one hand, so much to love with such an inordinate array of talent assembled to mark Sondheim’s 90th birthday. But on the other, where’s the editor, there’s a real sense of the rambling here too. Fortunately as this has been put together in lockdown (and very well too) it is easier than ever to skip to the bits you want (in the spirit of these times, I ain’t telling you who disappointed me).
For me, I loved the unexpectedness of Katrina Lenk’ ‘Johanna’, the cuteness of Beanie Feldstein & Ben Platt’s ‘It Takes Two’, and the energy of Alexander Gemignani’s ‘Buddy’s Blues’. And of the heavy hitters in the finale, Donna Murphy and Patti LuPone nailed ‘Send in the Clowns’ and ‘Anyone Can Whistle’ respectively, and there’s huge fun (if not finesse) in Christine Baranski, Meryl Streep & Audra McDonald giving us their ‘Ladies Who Lunch’. Continue reading “Lockdown Review: Take Me to the World: A Sondheim 90th Birthday Celebration”
Legendary Broadway composer Stephen Sondheim will be toasted with an all-star birthday concert, streaming live on Sunday 26th April. Hosted by Raúl Esparza, with musical direction by Mary-Mitchell Campbell, and coinciding with the 50th Broadway anniversary of Sondheim’s Company, Take Me to the World: A Sondheim 90th Birthday Celebration can be seen for free on YouTube.
This once-in-a-lifetime event, benefiting ASTEP (Artists Striving to End Poverty), will include a range of songs from the Sondheim catalogue performed by many of the artists who delivered iconic turns in his musicals, including Meryl Streep, Bernadette Peters, Patti LuPone, Mandy Patinkin, Audra McDonald, Christine Baranski, Donna Murphy, Kristin Chenoweth, Sutton Foster, Brian Stokes Mitchell, Kelli O’Hara, Aaron Tveit, Maria Friedman, Katrina Lenk, Michael Cerveris, Brandon Uranowitz, Elizabeth Stanley, Chip Zien, Alexander Gemignani, Iain Armitage, Stephen Schwartz and, from the cast of Pacific Overtures at Classic Stage Company, Ann Harada, Austin Ku, Kelvin Moon Loh and Thom Sesma.
The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions. A truly joyous and momentous occasion.
Honourable mention: this year’s musical take on As You Like It proved just as heart-swellingly beautiful over at the Queen’s Theatre Hornchurch. Continue reading “10 of my top moments of the decade”
“You got dreams he’ll never take away”
Upstairs at the Gatehouse will soon be hosting the London fringe premiere of 9 to 5 and with a neat serendipity, Megan Hilty is coming over to the UK for a short run of shows at the Hippodrome in September, Hilty having played Doralee – the role made famous by Dolly Parton – in the 2009 Broadway production. Plus, Alison Janney was in the cast too, so how could you not want to fill your life with her would-be future-Dameness via the Original Broadway Cast Recording.
An adaptation of the film by Patricia Resnick from her own screenplay, Dolly Parton’s score combined original songs with a smattering of tracks from her extensive back catalogue. But where, say, Cyndi Lauper managed to adapt her song-writing to the world of musical theatre in Kinky Boots whilst maintaining much of her character, Parton loses a little something in her journey. The songs here are perfectly serviceable but ultimately quite bland, especially shorn of any visuals. Continue reading “Album Review: 9 to 5 (2009 Original Broadway Cast Recording)”
Well as predicted, we went back to Avenue Q which is close to being one of my favourite shows ever even after just the one viewing, with a new set of friends as I feel it is my duty to spread the word about this show. You can read what I thought about it on my earlier review, but it was interesting to note what I had neglected to mention first time round.
The Bad New Bears are close to being the funniest things in the show, a little too fond of the demon drink and getting people into trouble, they brighten up the already-bright stage with their YAYYY!!s no end. I loved the little bits that appear on the screens either side of the stage as well: I won’t give any of them away but they help with the clever allusion to this being an adult version of Sesame Street with its life lessons. Continue reading “Re-Review: Avenue Q again, Noël Coward Theatre”
From the moment the posters went up advertising Avenue Q as Sesame Street for adults, I have been eagerly anticipating its arrival at the Noël Coward Theatre. And as it turns out, that description could not be more apt.
It plays as a coming-of-age story for young adults, poking fun at but also addressing semi-seriously the issues of leaving university and entering the daily grind, the anxieties of finding someone to love and also being comfortable in one’s own skin. It is sexually explicit in the funniest possible way and occasionally foul-mouthed but that just adds to the charm and the sense of realism that drives the show forward, even though it is puppets we are dealing with. Continue reading “Review: Avenue Q, Noël Coward Theatre”