Now this is how you do stunt casting! Linzi Hateley returns in glorious style to Joseph And The Amazing Technicolor Dreamcoat after 30 years
“May I return
To the beginning”
In a show already suffused with nostalgia for so many, the return of Linzi Hateley to Joseph And The Amazing Technicolor Dreamcoat is a warm hug of perfect decision making. It is a production that has already indulged a little in bringing back Jason Donovan – who played Joseph 30 years ago lest we forget – in the role of Pharoah, but Hateley is returning as the Narrator, the part that she originated (and for which she was Olivier nominated) and immortalised in the cast recording, meaning that this is literally the sound of my childhood coming to life!
For all my misgivings with Lord Lloyd Webber’s voting record and inter-relationship with the theatre ecology as a whole, Joseph is a show for which I have a huge fondness. From family trips to see it way back when, to singing in primary school productions, accompanying secondary school productions on the piano, to adding percussion to local drama group productions, plus catching it when it has perenially re-emerged on stages, its familiarity is the kind of smile-inducing, toe-tapping comfort that has been biting my tongue not to sing along every time I go. Continue reading “Review: Joseph And The Amazing Technicolor Dreamcoat, Palladium”
As a comedian, impressionist, game show host, reality TV star, soap, screen and stage actor, Les Dennis returns to the West End in the multi-award-winning smash hit musical Hairspray the Musical as Wilbur Turnblad having previously performed the role on tour. He stars alongside Michael Ball, who returns to his legendary, Olivier Award–winning role of Edna Turnblad. Lizzie Bea will star in the iconic role of Tracy Turnblad. Acclaimed West End star Marisha Wallace will take the role of Motormouth. Rita Simons (Eastenders’ Roxy Mitchell) and Jonny Amies (Granchester on ITV; Sex Education on Netflix/Eleven Film) will also join the cast as Velma Von Tussle and Link Larkin respectively.
The full company includes Georgia Anderson, Kimani Arthur, Dermot Canavan, Lori Haley Fox, Mari McGinlay, Ashley Samuels, Michael Vinsen and Imogen Bailey, Pearce Barron, Jordan Benjamin, Joel Cooper, Luke George, Christopher Gopaul, Bradley Judge, Winny Herbert, Lily Laight, Madeleine Lawton, Holly Liburd, Will Luckett, Mireia Mambo, Kody Mortimer, Robyn Rose, Tinovimbanashe Sibanda, Amy West and Natalie Woods. Continue reading “News: 4 West End shows announce their casts”
Stick it in your fam’ly album”
With Half A Sixpence due to close in the West End in exactly one month, I thought now was as good a time as any to give the Original Cast Recording a listen. The show has built up quite the devoted following in its lifespan but for me, in both its original Chichester production and the subsequent transfer to the Noël Coward, it was a musical that I liked rather than loved, the balance not quite right with all the magic in the second half.
And listening to the show simply reminded me of how I felt. Stripped of its extraordinary physicality, Charlie Stemp’s chirpy chappy routine is surprisingly quite wearisome to listen to from the outset. The sentiment of the opening title track proving cloying and the lack of any killer new tunes from Stiles and Drewe before the interval leave the score sounding solid rather than spectacular, I still can’t hum you a single track save ‘Half A Sixpence’ itself. Continue reading “Album Review: Half A Sixpence (2016 London Cast Recording)”
“I’d let him strum my banjo”
It was no surprise to discover that Half A Sixpence would be transferring into the West End – its run at Chichester Festival Theatre was a huge success (you can read my review here) and with Cameron Mackintosh on producing duties, it was always going to be a case of when rather than if. It’s a slow-burner of a show, the second act really is the business thanks to Andrew Wright’s choreography and as it opened at the Noël Coward Theatre last night, you can now read my 4 star review for the transfer over at Cheap Theatre Tickets here.
Running time: 2 hours 45 minutes (with interval)
Booking until 11th February
“Don’t forget your banjo”
Take a deep breath… the 1963 musical Half A Sixpence by Beverley Cross and David Heneker, based on the HG Wells novel Kipps: The Story of a Simple Soul, has been adapted anew for Chichester audiences with Julian Fellowes writing a fresh book and George Stiles and Anthony Drewe adding new music and lyrics to Heneker’s original songs. And because Cameron Mackintosh is Cameron Mackintosh, he gets a co-creator credit.
Originally written as a star vehicle for Tommy Steele, Half A Sixpence is the story of Arthur Kipps, an orphan who dreams of a better life whilst earning a pittance as a draper’s assistant in Shalford’s Bazaar, Folkestone. An unexpected bequest thrusts a fortune into his hands but his meteoric rise in society leaves him conflicted about his place in life as his heart is pulled between two very different young women (and a banjo). Continue reading “Review: Half A Sixpence, Chichester Festival Theatre”
“These modern productions are all very well…”
Taking your seat in the Palladium to see the musical theatre behemoth that is Cats – now 33 years old and receiving a 12 week revival here in one of Andrew Lloyd Webber’s own theatres – is an act of strangely calculated nostalgia. Famed for being one of the longest-running shows both on Broadway and the West End, its feline frolics remain entirely evocative of the 80s and as it reunites the original creative team – director Trevor Nunn, choreographer Gillian Lynne, designer John Napier – that should come as little surprise.
For those unfamiliar with the show, it was actually a feat of some daring. A through-sung, through-danced piece with no real narrative, save that taken from T.S.Eliot’s book of whimsical poetry, Old Possum’s Book of Practical Cats. In essence, we meet the key characters of a tribe of cats who have gathered in a junkyard for a special night where one of them will be selected to be reborn into a new life in cat Heaven (or more accurately, be part of a rather dodgy bit of stagecraft, almost as naff as those cats’ eyes at the beginning).
Continue reading “Review: Cats, London Palladium”
“’Cause just to sit still would be a sin”
For the longest time, I resisted the charms of Hairspray both on screen and on stage. It was only my niece and nephew falling in love with the 2007 film and making me watch it with them and made me realise how much fun it is and just how tuneful Marc Shaiman’s score manages to be. So having missed the boat with the West End version (and resisted the temptation to see its seemingly never-ending touring incarnation), I was most pleased to see that Paul Kerryson was creating his own interpretation for the Curve, especially given how successfully Chicago had been reinvented there over Christmas.
And it appears that lightning really can strike twice. Kerryson clearly has the knack for reconceiving large scale musicals for this Leicester stage and focusing on the qualities that make them so successful and here, in that respect, there’s an embarrassment of riches. Mark O’Donnell and Thomas Meehan’s book captures a crucial moment in US civil rights history but one with an enduringly powerful message in how societal pressure can result in lasting change when focused through the right media channel. And Lee Proud’s wonderfully expansive choreography educates as well as entertains, speaking volumes about the changing ways in which we interact. Continue reading “Review: Hairspray, Curve”
“Nothing stays in fifty years or so, it’s gonna change you know”
The thrills of Kander & Ebb’s iconic work Chicago became somewhat lost as the show grew into a stalwart long runner in London’s West End, turning to an unending procession of stunt casting moves to keep the crowds coming. But though I’m a great fan of the show, the temptation to go and see it again was never there, not even as it closed, the innate razzle-dazzle had gone missing. So the prospect of a brand new production at Leicester’s Curve Theatre, directed by Paul Kerryson and choreographed by bright young thing Drew McOnie, raised hopes that it might be back.
And boy is it ever. The Curve has been home to some excellent musicals during Kerryson’s tenure and Chicago is right up there with the best, as a vibrant recasting of the familiar elements of the show infused with a fresh vitality that literally sparks off the stage. Away from the faux glamour of the latest evictee from the jungle or fading Hollywood star, the focus on genuine musical theatre talent restores an integrity to the show which allows it Kerryson to really play up the viciously biting satire of sensation-hungry audiences which is as relevant today as it ever was. Continue reading “Review: Chicago, Curve”
“You’ll declare it’s simply topping to be there”
On the face of it, Top Hat should have been a rip-roaring extravaganza of a show that tapped and waltzed and strutted its way right into my affections, featuring some of my favourite things like a healthy selection of classic songs from the Irving Berlin back catalogue and the kind of choreography from Bill Deamer that genuinely makes me wonder if it isn’t too late to find my inner Billy Elliot (don’t worry, I know it is…). But at this Tuesday matinée, I found it was particularly topping to be there and I was sadly left a little underwhelmed by the whole shebang.
It seems perverse to comment on the plot of a musical being far-fetched, especially one based on an old-school Broadway film as this is, but the book here – adapted by director Matthew White and Howard Jacques – is criminally lame. The story is a whole lot of silliness, which is fine – girl complains about guy dancing in the room above her, guy flirts with girl, girl gets cold feet when she think s guy is married to her best friend. Oh, and the guy is a leading Broadway star about to open a show. Where the problem lies is in the incredibly dated humour, which one can just about explain away as a period piece, but which just sags and droops with lame joke after overblown stereotype which was lapped up all too easily by this audience, of whom I was the youngest member by quite some margin. Continue reading “Review: Top Hat, Aldwych Theatre”