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Review: Singin’ in the Rain, Sadler’s Wells

Singin’ in the Rain retains all of its charm from Chichester in this lovely revival at Sadler’s Wells

“You can charm the critics and have nothin’ to eat”

It’s a good 10 years since I was soaked to the skin at Chichester Festival Theatre at their delightful revival of this classic musical. It later transferred into London though I resisted revisiting (I had willpower then!), but Singin’ in the Rain‘s reappearance with a short run at Sadler’s Wells ahead of a mooted UK tour next year was an ideal summer indulgence.

And so it came to pass on a rainy British summer evening. Sat a little further back in the stalls, we avoided the splash zone inside, having also managed to dodge most of the showers outside. And spirits were easily lifted by Jonathan Church’s entirely cheerful production of this light and breezy show which captures so much of the charm of the original MGM film.
Continue reading “Review: Singin’ in the Rain, Sadler’s Wells”

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News: full casting for Singin’ in the Rain at Sadlers Wells Theatre

Kevin Clifton, Faye Tozer, Charlotte Gooch and Cavin Cornwall are to join Adam Cooper to lead the Chichester Festival Theatre and Stage Entertainment production of the Olivier Award-nominated musical Singin’ in the Rain.

The production will play a strictly limited run at Sadler’s Wells from Friday 30 July – Sunday 5 September 2021, ahead of a 2022 UK tour (tour casting to be announced). Former professional Strictly Come Dancing favourite Kevin Clifton (theatre credits include Rock of Ages, UK Tour; Burn the Floor, West End, UK and International tours; Dirty Dancing – The Classic Story on Stage, West End) will play Cosmo Brown. 

Steps and stage star Faye Tozer (Everybody’s Talking About Jamie, West End; Me and My Girl and Tell me on a Sunday, UK tours) plays leading lady Lina Lamont. Principal casting is completed by Charlotte Gooch (Strictly Ballroom and Top Hat in the West End, Dirty Dancing – The Classic Story on Stage, first UK Tour and West End) as aspiring actress Kathy Seldon and Cavin Cornwall (Disney’s Aladdin, Prince Edward Theatre; Jesus Christ Superstar, Regent’s Park Open Air Theatre and world arena tour; Star Wars: The Last Jedi) as film producer, RF Simpson. Continue reading “News: full casting for Singin’ in the Rain at Sadlers Wells Theatre”

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News: West End Unplugged announces four free concerts in September

West End stars and theatre’s technical entertainment companies come together to support industry family with West End Unplugged

Each Wednesday from 9th to 30th September, a dazzling line-up of the West End’s most well-loved singers will perform alongside some of theatre’s top musicians in West End Unplugged (live from L-Acoustics Creations), a series of four, 45-minute charity concerts. 

COVID-19 has dealt a devastating blow to the theatre community across the U.K., with shows closed across the West End and around the country since March, and for the foreseeable future leaving all those involved with little or no income. This series of shows been produced to help raise funds for three charities that help the most in need across the entertainment industry.  Continue reading “News: West End Unplugged announces four free concerts in September”

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Winners of the 2019 Black British Theatre Awards

An important addition to the theatre award calendar, the winners of the inaugural Black British Theatre Awards can be found below

Creatives Group

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

BEST PRODUCER
WINNER – Tobi Kyeremateng; Babylon Festival: Bush Theatre

BEST CHOREOGRAPHER 
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”

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Nominations for the 2019 Black British Theatre Awards

Creatives Group

BEST DIRECTOR FOR A PLAY OR MUSICAL
Lynette Linton; Sweat: Gielgud Theatre
Roy Alexander Weise; Nine Night: National Theatre
Nancy Medina; The Half God of Rainfall: Kiln Theatre

BEST PRODUCER
Tobi Kyeremateng; Babylon Festival: Bush Theatre

BEST CHOREOGRAPHER 
SPONSORED BY HARLEQUIN FLOORS
Rachael Nanayonjo; Sleeping Beauty: Theatre Royal Stratford East
Alesandra Seutin; Boy Breaking Glass: Sadlers Wells
Shelley Maxwell; Equus: Theatre Royal Stratford East Continue reading “Nominations for the 2019 Black British Theatre Awards”

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July theatre round-up

I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw  in July.

On Your Feet, aka the rhythm will get you, sometimes
the end of history…, aka how can you get cheese on toast so wrong
Equus, aka hell yes for Jessica Hung Han Yun’s lighting design
Games for Lovers, aka straight people be crazy
Captain Corelli’s Mandolin, aka the one that got my goat
The Girl on the Train, aka Philip McGinley in shorts
A Midsummer Night’s Dream, aka Another Dream? dream on
Uncle Vanya, aka I really need to stop booking for plays like this with casts like that 
Jellyfish, aka justice for the second best play of last year
Sweat, aka Clare Perkins should always be on in the West End
Sue Townsend’s The Secret Diary of Adrian Mole Aged 13 3/4 The Musical, aka yay for lovely new musicals in the West End
The Light in the Piazza, aka Molly Lynch fricking nails it
Jesus Christ Superstar, aka was third time the charm?
Continue reading “July theatre round-up”

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Album Review: Chicago (1997 London Cast Recording)

“A lot of people have lost faith in America”

I quite like the film version of Chicago but was surprised by the extent to which I had internalised its soundtrack upon listening to this London Cast Recording from 1997. Part of that lies in the fact that it is good few years since I’ve seen it onstage but there’s no excuse really, for a theatre nut like me. And sure enough, surrendering to the thrill of Ruthie Henshall and Ute Lemper here was a genuine pleasure and a great way to revisit Kander & Ebb’s score.

Henshall’s Roxie and Lemper’s Velma are surely among the best that these characters have ever been sung. The unrelenting stunt casting that kept the show a West End presence perhaps devalued the music a bit but in these hands, with these voices, you come to really appreciate the emotional complexity and proper darkness of these women and what they’re forced to do in order to keep their head above water and then some. Continue reading “Album Review: Chicago (1997 London Cast Recording)”

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Round-up of news and treats and other interesting things

This year’s iteration of the Norfolk and Norwich Festival 2017 runs from 12 – 28 May and with it comes a substantial programme of circus, literature, classical and contemporary music, dance, family activities, performance, theatre, visual arts and The Adnams Spiegeltent that befits the fourth biggest arts festival in the country.
Eyecatching inclusions include

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Review: Jesus Christ Superstar, Open Air Theatre

“Could you ask as much from any other man?”

Andrew Lloyd Webber sure doesn’t make it easy – for his support of new musical theatre in taking over the St James Theatre to making a transatlantic dash to the House of Lords to vote in support of tax credit cuts for the working poor, it’s hard to know where to stand. His status in the British theatrical establishment remains largely unchallenged though and it is to the 46-year-old Jesus Christ Superstar that the Open Air Theatre in Regents Park have turned for their big summer musical, directed this year by Timothy Sheader. 

And how do you play a 70s rock opera for today? You bring onboard shit-hot creatives like Tom Scutt and Drew McOnie to reinvent it for 2016. Scutt’s design choices make a virtue of the timeless iron structure that edges the stage. The company arrive in luxury sportswear, its loose silhouettes and muted earth tones akin to a Kanye West fashion show with which McOnie’s contemporary choreography meshes perfectly. Later scenes feature the glitter-covered muscularity of something like a late night Brighton Pride, a smattering of Xerxes from the film 300 and all out Sink the Pink excess during the whipping sequence. Continue reading “Review: Jesus Christ Superstar, Open Air Theatre”