A new version of Sunday at the Musicals will return to The Actors’ Church in London on Sunday 22nd November at 5.30pm and 8.00pm. The concert will feature a large cast of West End singers who will perform songs from popular musicals to raise funds for Acting for Others.
The performances will be hosted by Sarah-Louise Young and the company, subject to availability natch, are: Kelly Agbowu, Kacey Ainsworth, Tsemaye Bob-Egbe, Charlie Bull, Colin Burnicle, Matthew Croke, Janie Dee, Nicole Raquel Dennis, Sue Devaney, Leanne Garretty, Rebecca Gilliland, Lisa Gorgin, Melissa Jacques , Claudia Kariuki, Natalie Kassanga, Sejal Keshwala, Anna McGarahan, James Meunier, Ceili O’Connor, Rosa O’Reilly, Mira Ormala, Sarah O’Connor, Charlotte O’Rourke, Sara Poyzer, Sophie Reeves, Joshua St Clair, Liam Tobin, Shona White, Pippa Winslow and Benjamin Yates.
Tickets for the new Sunday at the Musicals concert at The Actors’ Church can be booked here.
Jule Styne, Jerry Herman & Stephen Sondheim get a worthy lockdown tribute in Kings of Broadway 2020
“Knock-knock! Is anybody there?”
There certainly was a whole lot of people there as the online concert of Kings of Broadway 2020 in support of NHS Charities Together and Acting for Others brought a large dose of classic musical theatre back into our lives. Expertly marshaled by musical director and pianist Alex Parker, the choice to spotlight Black Lives Matter through a recital of Maya Angelou’s ‘And Still I Rise’ was a good one, even if it showed the relative caucasity of the main line up. Continue reading “Review: Kings of Broadway 2020”
Big doesn’t always mean better, size does matter, it’s not how big it is it’s what you do with it – whatever the pun, Big the Musical is a severe disappointment at the Dominion Theatre
“I want my room,
I want my bed.
I want my mom,
I want to go home”
A crucial moment in Big the Musical sees Zoltar the fortune-telling machine say “make your wish, make your wish…” and I think my wish is that one day the Dominion Theatre will find a show that properly suits it, and that can fill it – once again, this is not the one. Director/choreographer Morgan Young’s production of the classic 1980s movie initially looks swish – Simon Higlett’s design dominated by an impressive curved HD video wall but a raft of questionable decisions mitigate against it, almost at every step.
You can see the thinking behind the casting – a Strictly winner, someone off Corrie, a member of Girls Aloud even – but they just don’t feel like the best people for the roles by any stretch. Jay McGuiness doesn’t exude anywhere near the requisite amiability and charisma to be this kind of leading man and whilst he’s technically right there with the dancing – the Act 1 closer is brilliantly choreographed by Young – but there’s no emotion carrying through with it, near fatal when you’ve got Tom Hanks to live up to. Continue reading “Review: Big the Musical, Dominion Theatre”
A striking new musical at the Union Theatre based on Elchin’s Citizens of Hell, Midnight is enthralling, entertaining and exciting
“If these walls could talk, well they’d probably just scream”
We all like to think that we would be part of the resistance if we were living under a repressive regime but the truth is, that kind of pressure is unimaginable unless that suffocating terror is a part of every waking moment, where life or death decisions mean exactly that. This is the milieu that Midnight exists in – Soviet Azerbaijan as 1937 draws to a close – where every knock on the door brings with it the threat of the secret police.
Based on Elchin’s play Citizens of Hell, Laurence Mark Wythe (music and lyrics) and Timothy Knapman’s (book and lyrics) musical adaptation is so very good at translating the eerie strangeness of this world and is a supremely confident new musical to boot. Essentially a three-handed psychological thriller, Kate Golledge’s production is superbly enhanced by the use of a ghostly actor-musician ensemble who complement and complicate the existence that our central couple have set up for themselves. Continue reading “Review: Midnight, Union Theatre”
“Make it Sparklejollytwinklejingley”
First things first, it’s a really poor show on behalf of those in charge of this production at the Lowry that there was no announcement or any mention of the fact that the understudy for the main part was on. Not for any sniffy reason about wanting to see Ben Forster but rather that it denied Colin Burnicle his spot in the limelight on the first occasion that he got to play the role of Buddy the Elf.
I don’t think Burnicle will mind me saying he had an understandably slightly nervy beginning but he soon settled into the green felt boots of Buddy, working a slightly more frantic Jim Carrey-esque vibe than one might expect from a role originated on screen by Will Ferrell but it was one that worked. And he connected well with former Atomic Kitten Liz McLarnon as his putative love interest Juvie, as under-developed a part it is. Continue reading “Review: Elf, Lowry”
“When we must cross over
Who knows what we’ll find”
A 90s musical of an 80s film – nostalgia has a lot to answer for but it was to Maltby Jr and Shires’ 1996 adaptation of the Tom Hanks-starring film that producers turned for their big Christmas musical at Bord Gais Energy Theatre in Dublin. Morgan Young’s production also had a short run at the Theatre Royal Plymouth and with the creation of this UK cast recording, you wonder whether further plans were in the pipeline for the show.
I’m not holding my breath though, as it doesn’t really sound like that much of a winner. Shire’s score is painfully dated, Maltby’s lyrics provide little spark and as a whole, Big the Musical just sounds a bit twee, a bit inconsequential. There’s little sense at all of the songs driving the narrative, they’re more an inoffensive, intermittent distraction, taking way too long to inch over to even just to ‘pleasant’ on the scale. Continue reading “Album Review: Big the Musical (2016 Original UK Cast Recording)”
“They weren’t lies, they were well researched stories that later turned out not to be true”
Just a quickie for this unexpected revisit to Great Britain. I hadn’t intended to go back to this Richard Bean play, which made a rapid transfer from the National Theatre to the Theatre Royal Haymarket after its up-to-the-minute emergence on the schedule after the culmination of a certain trial involving a certain Eastender-star-bashing redhead. But the offer of a good ticket and the chance to see Lucy Punch – of whom I’ve heard much but never seen on stage – tempted me once again into this murky world of tabloid junkies.
My original review can be read here and if anything, I think I might have been a little kind to it. The play hasn’t aged well, even in the six months since it opened as the fast-moving world of political, institutional and journalistic scandal moves on so quickly IRL that this fictional version already seems quaint. Add in that its bite has been evidently neutered by legal threats and its intelligence barely scrapes the surface of the ethical issues at hand, and it’s a bit of a damn squib for me. Punch was good though.
“That’s what we do, we destroy lives…but it’s on your behalf, because you like to read about it”
It’s not quite Beyoncé releasing her latest album without prior notice but it’s not far off. Richard Bean’s new play for the National was something of an open secret even if its specifics were unknown but still, announcing it with five days’ notice and no previews is a pretty bold move. What Great Britain has going for it though is a right-up-to-the-minute immediacy as Bean responds with speed to the scandals that have engulfed certain sections of the tabloid media in recent times and a court case that may or may not have just reached a verdict…
We’re in a satirical, pseudo-recognisable world – a ratings-hungry red-top (called The Free Press) is owned by a foreign-born media mogul who wants to buy a television station (an Irishman called Paschal O’Leary if you will) and has a fiercely ambitious news editor at its helm (a blonde woman called Paige Britain, she didn’t say she was “vindicated” so I have no idea who she was meant to be…). Manipulating their way to a position of huge influence with both Police and Parliament under their thumb, it seems nothing could go wrong. That is, until a little thing called phone hacking breaks into the national consciousness. Continue reading “Review: Great Britain, National Theatre”
“But nobody’s rules are the same”
With music from Benny Andersson and Björn Ulvaeus of ABBA and conceived by Tim Rice who also contributed the lyrics, the 1980s musical Chess had grand ambitions which have never really come to fruition as it remains a show that has been revised as often as it has been revived. This new production at the powerhouse of intimate musical theatre that is the Union is a version which has been sanctioned by Rice himself as the definitive version of this story of a love triangle in the world of international chess competitions set against the backdrop of the Cold War. But the potency of an intimate venue has to be carefully captured in order to make it truly work and this is where Chess comes a little unstuck.
Ryan Dawson Laight’s design has recast the Union into a shallow thrust, the size of the theatre meaning that most of the seats end up on the sides. Not an issue at all in and of itself but Laight has a large platform take up most of the space at the rear of the stage and so much of the action is forced forward and this, combined with co-directors Christopher Howell and Steven Harris having the performers play predominantly straight ahead, results in a production that too rarely engages with the vast majority of its audience. For the handful of eight or so people facing the stage head-on, it must be marvellous but if the theatre were full, more people would actually see Florence’s back than her face during the bruisingly raw final scene – that two directors can misuse such an intimate space this way is certainly problematic. Continue reading “Review: Chess, Union Theatre”