Observing social distancing by recording from home, Luke Bayer, Dan Buckley, Aoife Clesham, Hiba Elchikhe and Alex James Ellison perform ‘For Your Light To Shine’ from the musical Fiver, written by Alex James Ellison and Tom Lees
As we move towards the year end, so award season gets into full swing and What’s On Stage have now revealed their nominations celebrating everyone who works in theatre apart from sound designers and musical directors. As ever, these awards tend to work around which fanbase can weaponise the strongest and so there’s lots of love for shows which might not necessarily be troubling many other shortlists…
Still, am liking the recognition for Milly Thomas and Dust, Es Devlin’s luminous set work for Girls & Boys, and Six and The Grinning Man getting into the cast recording category (though can’t quite work out how Come From Away fits into there as well…). And it’s a bit sad that the way their eligibility period works means that Hamilton comes up against Company, making the supporting actress/actor categories ridiculously difficult to choose between.
You can vote here until 31st January, and winners will be announced on 3rd March.
“We’re not nerds, we’re geeks”
Complete with superfan Sundays and audience members who have nailed the choreography, Eugenius‘ return to The Other Palace is a classic piece of fan service. I’m not so sure I count myself as one of those fans though, ultimately I want something more forward-thinking from my new musical theatre. Read my 2.5 star review for Cheap Theatre Tickets here.
“I’ll be an inspiration
A musical sensation”
The cast recording for USHERS: The Front Of House Musical was released in advance of its 2014 run at the Charing Cross Theatre but ever the trail-blazer ;-), I saw the show a few months before when it played at the then newly inaugurated Hope Theatre. There, its homespun charms won me over, with its tales of drama in the theatre but not the onstage kind, rather it is the Front of House staff in the spotlight here.
Written by Yiannis Koutsakos, James Oban and James Rottger, and simply orchestrated for Lee Freeman on the piano, it is a short and sweet cast recording but one which wisely makes a virtue of it. These aren’t particularly epic songs or grand stories but intimate pieces and personal tales of love and betrayal, audience members and interval ice-creams, and so they suit the smaller focus that they’re given here. Continue reading “Album Review: USHERS: The Front Of House Musical – (2014 Original London Cast Recording)”
“Because the lives of the wicked should be made brief.
For the rest of us death will be a relief.”
A handful of cancelled performances due to production design problems meant I missed Sweeney Todd in Derby but fortunately, it being a co-production with Colchester’s Mercury meant that I was able to fit it in to what has been a most hectic schedule this October. And I’m glad I did, for Sondheim and Hugh Wheeler’s musical proves once again to be an evergreen classic and Daniel Buckroyd’s production here makes that case, whilst still establishing its own spin.
Most notably, it comes in the casting of Hugh Maynard as the titular Demon Barber of Fleet Street, for much as I’d love us to be in a place where it doesn’t matter, it still feels important to note that he is the first black man to play the role professionally in the UK. And from his very first utterance, you’re left in no doubt whatsoever that he’s more than up to the task, giving us a viscerally angry Sweeney, his fury his defining characteristic right up until the finale. Continue reading “Review: Sweeney Todd, Mercury Theatre”
“Don’t get sore when you lose tonight”
Cult status is a funny thing, depending on which side of the coin you fall, it can either rescue diamonds in the rough or just further expose them. For me, Cool Rider comes down heavily on the latter though it must be said, there’s plenty who would argue the former, not least those who contributed over £12 grand to the Kickstarter to get this recording made. Hey, it’s their money right?!
Cool Rider is perhaps better known as the stage adaptation of ill-fated film sequel Grease 2. Staged in a concert version in 2014, the popularity of which saw it return for a week of performances at the Duchess Theatre, the fans are clearly there but quite for what, I couldn’t really say. The plot is little more than an retread of the original but with the roles reversed but the main problem lies in an inconsistent and uninspired score. Continue reading “Album Review: Cool Rider (Original Studio Recording 2015)”
Best Cast Recording
Bend It Like Beckham (Original London Cast Recording)
Cool Rider (Original Studio Recording)
Gypsy (2015 London Cast Recording)
Made in Dagenham (Original London Cast Recording)
Memphis the Musical (Original London Cast Recording)
“You’ll need a better leotard, that’s for sure”
There’s something genius about the way Finn Caldwell’s production of Lardo co-opts its audience into becoming willing and whooping wrestling spectators. Whether Haystacks is something Giant to you or something to find a needle in, there’s such a compelling warmth to the way in which we’re swept up into the atmosphere that you’ll find it impossible not to be chanting LAR-DO, LAR-DO, LAR-DO… Mike Stone’s play takes us into the realm of ‘Tartan Wrestling Madness’ where the likes of Wee Man and Whiplash Mary entertain Glasgow audiences hungry for a ruckus, and whose ranks aspiring wrestler Lardo is desperate to join.
Daniel Buckley’s inspired Lardo lacks in trimness, he more than makes up for in enthusiasm and unsurprisingly it isn’t long before he seizes his opportunity to get the celebrity he’s long dreamed of. But girlfriend Kelly (a gently persuasive Laura Darrall) has just found out she’s pregnant, rugged boss Stairs – a former wrestler himself – has dreams of upping the ante where the violence is concerned (Nick Karimi giving an outrageously charismatic performance), even whilst dogged health and safety officer Cassie (Rebecca Pownall) is determined to make him follow the rules. Stone has each of his characters test their limits and astutely asks us how far is too far in the name of entertainment. Continue reading “Review: Lardo, Old Red Lion”
“When you’re feeling certain feelings that just don’t seem right”
This is going to be less of a review than a jumbled thought piece coming out from the marketing campaign for The Book of Mormon which has seen unprecedented levels of saturation across London. The publicity for the show started way back, adverts on buses and in tube stations have been appearing for months now but the week leading up to last Thursday’s press night saw an absolute deluge of coverage which meant it was even harder to escape. Lengthy preview features which all but reviewed the show were printed in newspapers; the #LoveMormon twitter campaign went into overdrive, using many of those tweets as quotes in adverts which, following the gala opening night, included an incredible four page ad just featuring tweets from celebrities.
One might have imagined such levels of hype would be hard to live up to but by all accounts, it has worked as a press release arrived yesterday trumpeting that The Book of Mormon had broken the record for the biggest single day of sales the previous day, taking in an astonishing £2,107,972 and this from a show which had already pretty much sold out until the summer. Of course, one could point to the ticket prices to explain some of the maths – the majority of the tickets are retailing at £74.50 and £127, £39.50 is as far as the cheap seats go (day lottery aside) – but nonetheless, the achievement shouldn’t be underestimated. Continue reading “Review: The Book of Mormon, Prince of Wales”