A new version of Sunday at the Musicals will return to The Actors’ Church in London on Sunday 22nd November at 5.30pm and 8.00pm. The concert will feature a large cast of West End singers who will perform songs from popular musicals to raise funds for Acting for Others.
The performances will be hosted by Sarah-Louise Young and the company, subject to availability natch, are: Kelly Agbowu, Kacey Ainsworth, Tsemaye Bob-Egbe, Charlie Bull, Colin Burnicle, Matthew Croke, Janie Dee, Nicole Raquel Dennis, Sue Devaney, Leanne Garretty, Rebecca Gilliland, Lisa Gorgin, Melissa Jacques , Claudia Kariuki, Natalie Kassanga, Sejal Keshwala, Anna McGarahan, James Meunier, Ceili O’Connor, Rosa O’Reilly, Mira Ormala, Sarah O’Connor, Charlotte O’Rourke, Sara Poyzer, Sophie Reeves, Joshua St Clair, Liam Tobin, Shona White, Pippa Winslow and Benjamin Yates.
Tickets for the new Sunday at the Musicals concert at The Actors’ Church can be booked here.
I revisit long-runners The Mousetrap, Les Misérables and Wicked, and come to a decision (of sorts) about the future of this blog
“Here’s to you and here’s to me”
Well 2019 has been an interesting year so far and one full of significance – I’ve turned 40, this blog has turned 10 and it’s all got me in a reflective mood. Personally, professionally, is this what I want to be doing? Do quote a Netflix show I haven’t even seen, does all this bring me joy…? Over the last couple of weeks, I’ve revisited a few long-running shows in the West End to consider what cost longevity.
The longest running show in the West End is The Mousetrap – 66 years old with over 27,000 performances and their answer to keeping going is to not change a single bit – has the show even ever cast a person of colour? My limited research suggests not… On the one hand, it’s a policy that does seem to have worked and that record is a mighty USP, although does the number of empty seats at the St Martin’s that afternoon suggest a waning of interest finally? Continue reading “Blogged: long-running shows and long-running blogs – what does the future hold”
“I love the theatre, but I never come late”
In some ways, this tale of the exploitation of unpaid interns working in a theatre could be considered a timely revival looking at the ethics of the industry. But though that is the pretext of Babes in Arms, it is a much more whimsical piece than that – a 1937 Broadway musical from Rodgers and Hart, frothily light in plot but musically superlative in places, brimming with standards like ‘The Lady is a Tramp’, ‘Johnny One Note’ and ‘My Funny Valentine’.
This production uses a revised book from 1959 by George Oppenheimer in which a team of bright young apprentices toil away at a struggling theatre, falling in and out of love with each other at the drop of a hat and secretly rehearsing a musical revue which they hope to put on. It’s undoubtedly a candy-floss ball of a plot but cheerfully and entertainingly staged in David Ball’s production with Sam Cable’s sharp 3-man band and splendidly enlivened by the interjections of Lizzi Gee’s suitcase-wielding and delightfully tap-heavy choreography. Continue reading “Review: Babes in Arms, Union”