Following its opening at the Watermill Theatre, a critically acclaimed sell-out tour in 2019, a highly successful Christmas season at The Other Palace in 2019, a Grammy nomination and 3 Olivier Award nominations, Amélie The Musical arrives in the heart of the West End this summer. Following the government roadmap announcement, tickets are on sale now for a socially distanced audience at the Criterion Theatre from Thursday 20 May. Olivier-nominee Audrey Brisson (The Elephantom, Pinocchio and Pericles (National Theatre), The Flying Lovers of Vitebsk (Kneehigh), and The Grinning Man
(Bristol Old Vic)), will return to the role of ‘Amélie’.
The five–time Oscar®-nominated film will be brought to life once again by a cast of actor-musicians and set to a critically acclaimed re-orchestrated score. With music by Hem’s Daniel Messé, lyrics by Nathan Tysen and Daniel Messé and book by Craig Lucas, Amélie The Musical is directed by Michael Fentiman. The full cast includes Sioned Saunders as Gina, Flora Spencer-Longhurst as Georgette, Rachel Dawson as Amandine/Philomene, Oliver Grant as Lucien/Mysterious Man, Chris Jared as Nino Quincampoix, Caolan McCarthy as Hippolito/Elton John, Samuel Morgan-Grahame as Joseph/Fluffy, Kate Robson-Stuart as Suzanne, Jack Quarton as Blind Beggar, Jez Unwin as Raphael/Bretodeau and Johnson Willis as Collignon/Dufayel. Nuwan Hugh Perera, Miiya Alexandra, Robyn Sinclair and Matthew James Hinchliffe complete the ensemble. Continue reading “Musical news aplenty”
As exciting as musical theatre can get – Fun Home becomes a must-see production at the Young Vic
“Caption—My dad and I were exactly alike
Caption—My dad and I were nothing alike”
It’s fitting that Fun Home should open in Pride month, not least because it is an all-too-rare show that focuses on the L in LGBT+. But as stirring and gratifying and significant as it is to have a lesbian protagonist, this musical works because it is straight-up fantastic – an unabashedly bold queering of the form that reins back any notion of excess to reveal the simple truth that beneath it all, we all hurt the same.
Fun Home is based on Alison Bechdel’s memoir of the same name, a graphic novel musing on her experiences in coming out and later discovering her father is a closet homosexual, yearning for a deeper understanding about how he could have, maybe, possibly, taken his life while she was still a teenager. Lisa Kron’s book adopts a non-linear approach, using an adult Alison as a narrator to recall fragments of memory from her childhood and from her early university days, the bruising experience of her own life facilitating a deeper reflection. Continue reading “Review: Fun Home, Young Vic”
“Let me tell you a story about a man with a strange complexion”
Baby, can’t you see, I’m calling. A show like this, should wear a warning…that warning should be avoid the front row if you’re squeamish about having your face touched by strangers! For The Toxic Avenger is nothing if not hands on, drawing its Southwark Playhouse audience right into its B-movie world, the poison paradise of the New Jersey town of Tromaville. And as we come to see, whether just a taste on the lips or a full-body dunking, the effects of toxic waste Based on the 1984 film of the same name, a cult classic of which
I hadn’t heard, its hero is Melvin Ferd the Third, a geeky scientist determined to clean up the town but who soon finds himself the victim of such a dunking. Transformed and deformed, he emerges as Toxie, the Toxic Avenger – all rippling abs and dangling eyeballs – and newly fortified to tackle the dastardly Mayor whose scheming has caused the pollution and also take the plunge with hot blind librarian Sarah who rejected him as a nerd. Continue reading “Review: The Toxic Avenger, Southwark Playhouse”
“I believe that the Garden of Eden was in Jackson County, Missouri”
In terms of first world problems, being constantly distracted by fellow audience member Kate Winslet probably ranks fairly highly but it is symbolic of the utter randomness that can accompany a gala performance. I was lucky enough to attend the opening night of The Book of Mormon which meant that in the haze of A-list to Z-list celebrities, the battle to get into the theatre, the newspaper reviews that had already been published and a thousand and one opinion pieces of one of the cannier marketing campaigns of recent times, it was difficult to separate out just what I really thought of the show itself.
With the show not exactly being the cheapest – premium tickets have now apparently broken the £200 mark for Saturday nights – it hasn’t been easy to find the optimum opportunity to go back (or taken my chances on their lottery). Until now that is, when a rare deal popped into my Twitter feed courtesy of @BargainTheatre and a £40 ticket on the end of row B in the stalls saw me making the trip once again to the Prince of Wales theatre, unencumbered by expectation or excitement and much more able to take in Trey Parker, Robert Lopez and Matt Stone’s show on its own merits. Continue reading “Review: The Book of Mormon, Prince of Wales Theatre”