As new digital sheet music store New UK Musicals launches, I talk with multi-award winning composer & lyricist Darren Clark about the site and his career
Darren Clark has been responsible for two of my favourite shows of recent years in The Curious Case of Benjamin Button and The Wicker Husband so I was interested to discover that he has been keeping very busy during lockdown, creating New UK Musicals.
New UK Musicals is an online platform where you will be able to purchase sheet music from some of the best new musical theatre writers working in the UK today. It’s a digital store where performers and fans can listen to online samples, purchase fresh, new songs and also connect with the writers who create them.
Designed and built during lockdown, the site launches with a competition for performers who will be able to buy and download selected songs from the site and upload videos of themselves performing to New UK Musicals. First prize includes a number of free downloads from the site as well as the opportunity to perform alongside West End stars in a special edition of Adam Lenson’s SIGNAL Online Concert Series celebrating the work of these writers on the 16th June.
Writers represented on the site include: Finn Anderson (Islander), Rebecca Applin (Jabberwocky), Bateman & Conley (The Sorrows of Satan), Ed Bell (My 80 Year Old Boyfriend), Darren Clark (The Curious Case of Benjamin Button), Elliot Davis (Loserville), Gus Gowland (Pieces of String), Teresa Howard (I Capture the Castle), Richy Hughes (Superhero), Carl Miller (Wasted), Noisemaker (My Left Right Foot), Eamonn O’Dwyer (The Legend of Sleepy Hollow), Susannah Pearse (Jabberwocky), Victoria Saxton (Marriage a la Mode), Amir Shoenfeld (Benny in Beta), Emily Rose Simons (Confessions of a Rabbi’s Daughter), Tim Sutton (The Secret Garden), Stiles & Drewe (The Wind in the Willows), Webborn & Finn (The Clockmaker’s Daughter) and Wigmore and Green (Van Winkle). Continue reading “Interview: founder of New UK Musicals and composer extraordinaire Darren Clark”
Some decisions that reflect my own nominations for the year, many others for plays I haven’t seen and as ever, some curious choices too.
Gabriella Slade for Six at the Arts Theatre
Jonathan Lipman for Harold & Maude at the Charing Cross Theatre
Pam Tait for Rothschild & Sons at the Park Theatre
Bethany Wells for Distance at the Park Theatre
Francis O’Connor for Harold & Maude at the Charing Cross Theatre
Simon Daw for Humble Boy at the Orange Tree Theatre Continue reading “The finalists of The Offies 2019”
“Fuck off! I’m writing Jane Eyre.”
Mad short of time this week so I’m just firing this up to say don’t miss the final few performances of Wasted at the Southwark Playhouse.
Running time: 2 hours 30 minutes (with interval)
Wasted is booking at the Southwark Playhouse until 6th October
I round up some of the recent casting news, including Queen Margaret at the Royal Exchange, Wasted at the Southwark Playhouse, Measure for Measure at the Donmar and The Woods at the Royal Court.
Shakespeare wrote more lines for Queen Margaret than he did for King Lear yet we know very little of her. Jeanie O’Hare re-acquaints us with one of Shakespeare’s major but rarely performed characters in her new play Queen Margaret. In a production that draws on original language from Shakespeare, director Elizabeth Freestone and Jade Anouka as Margaret, retell an iconic moment in British History through the eyes of the extraordinary Margaret of Anjou. This captivating exploration of The Wars of the Roses seen through the eyes of this astonishing, dangerous and thrilling woman opens the Royal Exchange’s Autumn Winter 2018/19 Season.
Anouka is joined by Islam Bouakkaz (Prince Edward/Rutland), Lorraine Bruce (York), Samuel Edward-Cook (Suffolk/Clifford), Dexter Flanders (Edward IV), Helena Lymbery (Hume), Lucy Mangan (Joan of Arc), Roger Morlidge (Gloucester), Kwami Odoom (Somerset/Richard), Bridgitta Roy (Warwick) and Max Runham (Henry VI). Continue reading “Casting news aplenty!”
“And so poor Yarico for her love, lost her liberty”
When a show openly acknowledges that it is a work-in-progress, you could be forgiven a certain degree of scepticism but on entering the London Theatre Workshop – perched above a Fulham pub – and seeing the size of their marimba, there can be no doubting the seriousness of the intent behind Yarico. A musical treatment of the opera Inkle and Yarico, itself based on the historical writings of Richard Ligon in A True and Exact History of the Island of Barbados, it’s a fascinating look at an interesting time in a difficult piece of history.
For though the slave trade forms the backdrop for the story, the opera came at a time when anti-slavery sentiment was on the rise and this sense of being on the cusp of the abolition era adds an thought-provoking texture to the production. Yarico, a young Amerindian woman with a yen for Shakespeare, has her life turned upside down when English ne’er-do-well Thomas Inkle washes up onshore. The only one able to communicate with him due to her studies, she pleads for his life against her hostile fellow islanders and they soon fall in love – so far so happy. Continue reading “Review: Yarico, London Theatre Workshop”
“No-one has time for other people’s troubles in a city”
It’s a rare occasion that I get to go to the theatre not knowing anything about a show in advance and so when the opportunity comes, it makes for a nice change. And in this case a huge surprise as Emil and the Detectives turned out to be a show with a cast full of kids! I now know that Erich Kästner’s 1929 novel is a much beloved children’s classic, though it never found a home on my bookshelf, and adapted here by Carl Miller, the tale of smalltown boy Emil going on a life-changing journey through the scary metropolis of Berlin and finding an unexpected solidarity with an army of street kids – the Detectives – is a solid entry in the National’s roster of family shows.
On the face of it, Bijan Sheibani seems an odd choice of director, an undoubtedly patchy track record leaving huge question marks but the National’s faith has been largely repaid here with a mercifully flaming skeleton-free production. Bunny Christie’s set design is a glorious masterpiece, using Constructivist angles and a stark spareness to allow for a range of different atmospheres and locations to be evoked, and the collaboration with Sheibani really pays off in key moments when the simplest solution is often used to great effect. Lucy Carter’s precise lighting comes into play in ingenious chase scenes with Ian Dickinson’s sound adding suitably creepy notes. Continue reading “Review: Emil and the Detectives, National Theatre”
“If you’re feeling low low, get down to Madame JoJo’s”
Featuring the vocal talents of Michael Cantwell, James Gillan, Niamh Perry and Claire Moore, and showcasing the work of musical theatre writers both established but primarily up and coming, A Song Cycle for Soho marks yet another feather in the cap for Mercury Musical Development, Simon Greiff and their sterling support for the genre. MMD has long been an invaluable resource for British musical theatre writers and Simon Greiff through SimG Productions has been tireless in his promotion of younger names and so there is something very apt about their collaboration here.
A Song Cycle for Soho developed out of Andrew Brinded’s original book which cast a bit of a sideways glance at Soho, an area of central London that is teeming with debauchery,history, character and a whole lot more besides. 16 set of songwriters were then invited to compose works that captured the multitudinous quirkiness of life in Soho and the result is a collection of songs that cover history, both recent and long ago, and the modern day; comedy, quiet tragedy and the whole gamut of crazy emotions inbetween. Continue reading “Review: A Song Cycle for Soho, Soho Theatre”