Since it is the season of goodwill to all men, I’m not going to belabour the point that it is a shame that ‘musicals’ have been lumped together as a category here, whereas the likes of Pinter and Kane got their own specials, whither Sondheim, Herman and Tesori. Still, it’s lovely as ever to stretch back over years of musical theatre productions to see some of Tristram Kenton’s most iconic shots for the Guardian:
Photos: Tristram Kenton
Simon Annand’s Time To Act is a beautiful book of photos capturing actors in the minutes before they go on stage
Tackling the constraints of the pandemic in its own way, Simon Annand’s fantastic new book of photos Time To Act has launched a virtual exhibition of some of the photographs which has now been extended to until Christmas. It’s an ingenious way of sharing some of the hundreds of images from the book and should surely whet the appetite for either just buying it now or putting on your list for Santa to collect soon.
Continue reading “Book review: Time To Act – Simon Annand”
Just a quickie for the infusion of pure joy that was Hello Harry! A Celebration of 40 Years at Stage Door
Amid the constant shower of shit that passes for news about theatre at the moment, this online concert to celebrate the incredible 40 year career of Harry Gabriel, the Shaftesbury Theatre’s Stage Door Keeper, was an absolute ray of sunshine.
Put together by Giles Terera, the guest list was truly astonishing, featuring a veritable who’s who of the theatre world, all connected one way or another with Harry through the 40 years of shows he has seen pass through the Shaftesbury Theatre. Continue reading “Review: Hello Harry! A Celebration of 40 Years at Stage Door”
The Shaftesbury Theatre has announced Hello Harry! – A Celebration of 40 Years at Stage Door – an online concert to celebrate the incredible 40 year career of Harry Gabriel, our night Stage Door Keeper. The concert will stream on YouTube on the 15th July at 7:30pm, with an incredible guest list of performers.
All of these performers are connected with the Shaftesbury and with Harry. The concert will feature stories and songs from shows that have been on our stage over the last 40 years and beyond. Continue reading “News: the Shaftesbury Theatre announces all-star concert Hello Harry!”
The lineup has been announced for the 10th and final week of Leave A Light On
West End stars Joel Harper-Jackson, Adam Bailey, Scott Hunter and David O’Reilly will perform live-streamed concerts from their own homes. And then to finish the series, multi-award winning artist Beverley Knight will perform an exclusive live show.
The festival presented by Lambert Jackson Productions in association with The Theatre Café was started as a way to keep the West End in people’s minds during the lockdown. The initiative aims to not only to provide financial support for the performers involved, but also to provide entertainment for people in self-isolation. Stars including Cassidy Janson, Louise Dearman and Jordan Luke Gage have already performed to viewers in their own homes via the live-streaming service. Continue reading “News: line-up for week 10 of Leave A Light On”
An important addition to the theatre award calendar, the winners of the inaugural Black British Theatre Awards can be found below
BEST DIRECTOR FOR A PLAY OR MUSICAL
WINNER – Lynette Linton; Sweat: Gielgud Theatre
Roy Alexander Weise; Nine Night: National Theatre
Nancy Medina; The Half God of Rainfall: Kiln Theatre
WINNER – Tobi Kyeremateng; Babylon Festival: Bush Theatre
SPONSORED BY HARLEQUIN FLOORS
Rachael Nanayonjo; Sleeping Beauty: Theatre Royal Stratford East
Alesandra Seutin; Boy Breaking Glass: Sadlers Wells
WINNER – Shelley Maxwell; Equus: Theatre Royal Stratford East Continue reading “Winners of the 2019 Black British Theatre Awards”
Nowhere near enough charm in this Sweet Charity for my liking. Josie Rourke’s farewell to the Donmar Warehouse is grey rather than silver
“I’m always looking for an emotional experience”
When the light lands just right on Robert Jones’ set for Sweet Charity at the Donmar Warehouse, it sparkles like silver; the rest of the time, it is rather grey. Sadly, that’s pretty much rather true as a whole for Josie Rourke’s production here, her farewell as Artistic Director here.
Those bright spots are dazzling. Debbie Kurup and Lizzie Connolly are superb as Charity’s pals and co-workers Helene and Nickie, dreaming their dreams with real circumspection. Martin Marquez’s velvety smoothness is charm personified as movie star Vittorio Vidal. Continue reading “Review: Sweet Charity, Donmar Warehouse”
I’m opting not to review Sylvia but rather to haul the Old Vic over the coals for a bit of a shambolic handling of the situation
“Time’s up, there’ll be no more waiting”
Hindsight is a great thing but the team at the Old Vic will have to look back at how they handled the difficult genesis of Sylvia and take some severe lessons. Some things were unquestionably out of their control, like the disruption of cast illness, but others were not. The apparent development of the show from a dance-led piece to a full-blown musical did not happen overnight and so to cite that as an excuse for the piece not being ready, to reclassify the production as a work-in-progress midway through the run is disingenuous to say the least, especially when people are still being charged £45 to see it.
It is a piece that is bounding with potential, clicking into a theatre landscape in London which feels unusually switched on at the moment (Misty and Emilia to name but two kicks up its backside), but we do still feel like we’re in rough draft territory here, hence my decision not to review. (It has provoked some strange reactions in the press though – four stars from Billers? Time Out showing their ass about colour-blind casting?) The music by Josh Cohen and DJ Walde and the book by Kate Prince and Priya Parmar both need substantial refinement from its baggy three hours plus, but you can see the work being put in, and which will continue to be put in until Sylvia re-emerges (next year apparently) better equipped to smash that patriarchy.
I make my own suggestions about interpretations of Andrew Lloyd Webber songs that could have been included on his new compilation album Unmasked
“They must have excitement, and so must I”
In a world of Spotify and iTunes and other online music services, compilation albums ought to have died a death. But the enduring success of the Now That’s What I Call Music series puts the lie to that, showing that while the idea of curating your own content is tempting, many of us prefer to let someone else do it for us.
So Andrew Lloyd Webber’s decision to release new anthology Unmasked is a canny one in that respect (read my review here), tapping into the desire to have a nicely pleasant set of musical theatre tunes to pop on in the car. And as with any compilation, it’s as much about what hasn’t been included as what has, that stands out. Continue reading “How to solve a problem like a compilation – my alternative Unmasked”