Auburn Jam Music are delighted to be releasing ‘You Will Be Found’ by #CheerUpCharlie & West End Friends, a fundraising charity single in aid of youth charity The Diana Award, on Sunday 15 November to tie in with the start of National Anti-Bullying Week (16-20 November).
The star-studded single is led by ten-year-old Charlie Kristensen from Wokingham, whose experience of being bullied started the viral #CheerUpCharlie campaign. Charlie is joined on the song by numerous stage and screen stars including Wendi Peters, Layton Williams and Michael Xavier, with Iain Armitage, Michael Ball, Rufus Hound, and Faye Tozer amongst many famous faces reading their supportive messages on the song’s video. The single is available to pre-save now on iTunes, Deezer, Spotify and Tidal at https://ditto.fm/you-will-be-found. Continue reading “News: You Will Be Found by #CheerUpCharlie & West End Friends to be released on 15th November”
National Theatre reveals full cast for Dick Whittington including faves Melanie La Barrie and Amy Booth-Steel
As previously announced, pantomime comes to the National Theatre with Jude Christian and Cariad Lloyd’s hilarious and heartfelt version of Dick Whittington. First staged at Lyric Hammersmith in 2018 and freshly updated for 2020, Ned Bennett’s production will open in the socially distanced Olivier theatre on 11th December, lockdowns permitting, and tickets are now on sale.
The full cast includes Melanie La Barrie as Bow Belles, Dickie Beau as Sarah, Amy Booth-Steel as Queen Rat, Laura Checkley as Mayor Pigeon, Lawrence Hodgson-Mullings as Dick Whittington, Georgina Onuorah as Alice and Cleve September as Tom Cat. Beth Hinton-Lever, Travis Kerry, Jaye Marshall, Ken Nguyen, Tinovimbanashe Sibanda and Christopher Tendai also join the company. Continue reading “News: National Theatre reveals full cast for Dick Whittington”
All the Web’s a Stageis a streaming initiative consisting of 12 marvellous jam-packed hours of all your favourite performers from the West End and theatre to comedy, drag and magic!
It’s fitting that the free livestream will be held on Thursday 23 April, Shakespeare’s birthday and the date that theatres began their process of restoration after strict censorship in 1661, the last time British theatres were ordered to close for a prolonged period.
The livestream is raising money for our artistic comrades who have been severely impacted by Covid-19. Whilst we appreciate the government’s initiatives, and the support made available for many self-employed workers, there are still many freelance artists who fall through the cracks of these new government programs. As a result, thousands of artists who are now unable to earn an income are facing the coronavirus crisis with no available financial support.
You can watch the livestream on the Theatre Together website or on the Theatre Together Facebook page this Thursday from midday. Continue reading “News: #AllTheWebsAStage details announced”
Been a bit quiet on the show front whilst I’ve celebrating a particular anniversary (I turned 29, for the 11th time if anyone’s counting…) but I was pleased to have been treated to a couple of special evenings out with Helen McCrory and Helena Bonham Carter reading poetry and a return visit to West Side Story
“Time to look, time to care,
Front row tickets to something with Helen McCrory? It’s the stuff birthday dreams are made of, and so I was delighted to get to go to Allie Esiri Presents Women Poets Through the Ages at the Bridge Theatre. And not only was there McCrory action, there was a reunion of evil Harry Potter sisters Narcissa Malfoy and Bellatrix Lestrange as Helena Bonham Carter was also on the bill.
Continue reading “Birthday treats – poetry and post-show talks”
Aletta Collins’ new choreography is just one of the highlights of a most successful West Side Story at the Royal Exchange
“Sleep well and when you dream
Dream of me”
For an undoubted classic of the musical theatre, West Side Story really isn’t revived all that often but 2019 seems determined to rectify that. The Curve have announced it as their Christmas show, Ivo van Hove is reimagining it on Broadway, and Steven Spielberg is remaking the film for good measure. But getting the (beautifully balletic) jump on all of them is Manchester’s Royal Exchange, whose revival is the first to be performed with new choreography replacing the iconic moves of original director and choreographer Jerome Robbins.
And only naturally, Sarah Frankcom’s production soars when it puts Aletta Collins’ new moves front and centre. They are certainly recognisably inspired by Robbins but there’s an unmistakeable freshness that is just beautiful to watch and there’s something great about the fact they’re all doing it in Converse. The repeated ronds de jambe are iconic in their own way, an emotional grace is suffused throughout, and hints of contemporary nod to the physicality of two warring gangs, coiled bodies poised on Anna Fleischle’s climbing frame design. Fleischle has also maximised the floor space of the Exchange to great effect, the aesthetic is pure dance and it works. Continue reading “Review: West Side Story, Royal Exchange”
Best Feel Good Show
Show You Came Out Dancing To
Five Guys Named Moe
Best Female Performer
Rachel John for Hamilton
Most Heart Stopping Show
Soundtrack of My Soul
Best Male Performer
Layton Williams for Rent
Aesthetic On Point
The Grinning Man
Performer Who Saved The Day
Adam Bayjou for Les Mis
Couldn’t Wait For It To Open
Five Guys Named Moe
The Old Vic
“The plan is to fan this spark into a flame”
It’s not been a hot minute since I last saw Hamilton so just take a look at my original review for the deets.
Running time: 2 hours 35 minutes (with interval)
Booking note – keep your eyes open for returns, of which there have been quite a few. And check your browsers, the Ticketmaster site is most temperamental with the likes of Opera, Firefox and Chrome in my experience, Microsoft’s Edge has been most reliable for me
It’s here! Hamilton finally arrives in the West End and lights up the newly refurbished Victoria Palace Theatre for the ages
“A bunch of revolutionary manumission abolitionists,
Give me a position, show me where the ammunition is”
Change doesn’t just happen, it has to be ushered in by visionaries determined to shake up the status quo to allow the rest of us to shuffle in in their wake. This is true of many things but particularly when it comes to diversity in our theatres, which makes it pleasing that this first production of Hamilton outside of the US has maintained its commitment to multiracial casting in its depiction of the travails of ill-fated Founding Father Alexander Hamilton.
Sure, shows such as Motown the Musical and Dreamgirls offer much-welcomed opportunities for performers of colour. But its the vision of the likes of Michael Buffong and Talawa casting an all-black Guys and Dolls and Hamilton writer Lin-Manuel Miranda and director Thomas Kail making this decision that allows those performers to get the kind of credits on their CV that would otherwise never be gained. Continue reading “Review: Hamilton, Victoria Palace”
And whilst it remains impressive, it also remains elusive, caught between gig and theatre…
Meaning there wasn’t much to discover anew on second viewing (my review from last year).
Still worth a shot if you’ve not seen it though.
All photos © Johan Persson
Continue reading “Not-a-re-review: Jesus Christ Superstar, Open Air Theatre”
“You gotta know what game to play and how to play it”
Faust via baseball, with songs – that’s Damn Yankees, the latest musical revival to hit Clapham North’s Landor Theatre, in a nutshell for you although the picture below gives a little more detail about the production… Hapless Joe Boyd blithely makes a deal with the devil to become Shoeless Joe Hardy who can save his beloved baseball team’s shockingly bad season even if it means leaving his wife behind. Sure enough though, as he helps the Washington Senators to victory after victory, suspicions about his sudden arrival are roused and it turns out he’s kinda missing his wife after all – can you go back on a deal with the devil?
It’s always a thrill to see choreography that tests the limits of this intimate space and Robbie O’Reilly’s work here is particularly striking in the group numbers – bringing to life the eternal conflict between obsessive sports fans and their spouses in the vibrant opening number ‘Six Months Out Of Every Year’, giving us the taut sensuality of a Latin dance club, or stripping the baseball team to their towels to show off their…ahem ‘Heart’. A show at the Landor also needs a director who understands the wide aspect of the stage and how to use it both efficiently and effectively. Continue reading “Review: Damn Yankees, Landor”