With powerful performances from Michael Xavier, Josefina Gabrielle and more, plus a sneak peek at the forthcoming Carousel, Episode Seven of The Theatre Channel is a marvellous showcase for Rodgers and Hammerstein
“Bachelor dandies, drinkers of brandies
What do I know of those”
Episode Seven of The Theatre Channel is presented in a co-production with Regent’s Park Open Air Theatre, as it focus on the songs of Rodgers and Hammerstein allows us get a taster of their forthcoming production of Carousel. And not only that, there’s illustrative contributions throughout from Ted Chapin, former president of The Rodgers and Hammerstein Society, lending a real weight to an already entertaining episode.
For the most part, stagings are fairly straight-forward, taking advantage of the lush greenery of Regent’s Park. And when the songs are this good, there’s not much need to that much more. Josefina Gabrielle oozes class as she sashays through Allegro’s ‘The Gentleman is a Dope’ and new graduates Tavio Wright and Ethlinn Rose put the bandstand to good use in a gorgeous ‘Sixteen Going On Seventeen’, complete with ecstatic dance break. Continue reading “Review: The Theatre Channel – Episode Seven Rodgers and Hammerstein”
Adam Blanshay Productions’ renowned The Theatre Channel is back with a jam-packed Rodgers and Hammerstein special. Embracing the return of live theatre, the episode is a co-production with Regent’s Park Open AirTheatre ahead of their unique take on the classic Carousel this summer.
This brand new partnership will feature an exclusive sneak peek into the making of the upcoming production of Carousel, including behind-the scenes rehearsal footage with Natasha May Thomas and choreographer Drew McOnie. This al fresco hit tells a tragic tale with songs that will stay with you for a lifetime. Continue reading “News: The Theatre Channel visits Regent’s Park Open Air Theatre”
Lambert Jackson Productions and The Theatre Café have announced the return of popular online concert series Leave A Light On, with 70 performances being re-streamed via stream.theatre.
Shows from across the two series’ feature Zoe Birkett, Jordan Luke Gage, David Hunter, Cassidy Janson, Lucie Jones, Beverley Knight and Layton Williams many more famous West End faces.
Shows will be available to watch every day at 5pm and 8pm from 15 March to 24 April. Continue reading “News: Lambert Jackson Productions and The Theatre Café announce the return of Leave A Light On”
The schedule has been announced for week 2 of Leave A Light On, a series of live-streamed concerts.
The shows will be live streamed as part of the Leave A Light on series of concerts produced by Lambert Jackson and The Theatre Café, which aims not only to provide financial support for the performers involved, but also to provide entertainment for people in self-isolation.
Tickets to watch the live streams are a bargainous £7.50, just click on the links to book.
The full lineup is as follows:
Monday 30th March
2:30pm Nathaniel Morrison
4:30pm Grace Farrell
6:30pm Declan Bennett
Tuesday 31st March
2:30pm Simon Bailey
4:30pm Kelly Mathieson
6:30pm Jordan Luke Gage
Wednesday 1st April
2:30pm Daniel Boys
4:30pm Sophie Isaacs
6:30pm Aimie Atkinson
Thursday 2nd April
2:30pm Declan Egan
4:30pm Hannah-Grace Lawson
6:30pm Velma Celli
Friday 3rd April
2:30pm Blake Patrick Anderson
4:30pm Daniel Koek
6:30pm Marisha Wallace
“You can’t light a fire when the wood is all wet”
It will be interesting to see how many, if any, of the print critics make reference to one of the most significant aspects of the Barbican’s import of the Lincoln Center production of South Pacific: the ticket prices. The majority of the stalls is priced at £85, making the slightly restricted view seats a whopping £65 and you have to go up to the upper circle before prices start to drop. Not willing to spend so much, we went for the second-cheapest option, up in the balcony / gallery – £20 seats which were reduced to £16 with my membership – rather disgracefully the membership discount only being applicable to the first four performances, thus this is a preview being reviewed here. But credit where it’s due, the seats were just like the normal ones, comfortable with lots of leg room and you really are not that far away from the stage at all: it is so nice to find a venue with cheap seats that don’t take the p*ss out of the audience member and their comfort.
But to the show. This was an extremely well-received production in New York, winning a handful of Tonys and running for 2 years, and so Bartlett Sher has sought to recreate its success for this engagement at the Barbican ahead of a UK tour, even bringing over three members of the original cast. There’s apparently 40 people in the cast (though I counted a few less) and an orchestra of 25 so words like lavish and breathtaking are being thrown around, presumably to mitigate for the pricing, though it is not evident that much investment has gone into the set design… It is one of Rodgers and Hammerstein’s most well known musicals, last seen in London ten years ago at the National Theatre but that was before my time here. Continue reading “Review: South Pacific, Barbican”
“Whatever my lot, thou has taught me to say, it is well, it is well, with my soul.”
Grateful, featuring Anton Stephans is billed as an evening of uplifting gospel and musical theatre, taking place at Cadogan Hall with numerous special guests from the West End, a 20-piece band and ably assisted by the West End Gospel Choir, a collective of performers from a range of West End shows and the music circuit. Stephans is such an irrepressible and charming presence on stage that one imagines this evening would have been a success anyway, even without the harrowing circumstances that led us here.
For the past two and a half years, Stephans has been battling horrendous illness with tumours on his brain and adrenal glands and incredibly gloomy prognoses, but fortunately he has fought the battle well and is now making a full recovery. Hence his return to the stage here to return to his love of performing and pass on his incredible enthusiasm and joie de vivre and the message of the power of positive thinking. He has said that the programme of songs that have moved him and have significance in his life came to him in his darkest moments and consequently it chose to inspire and uplift, to celebrate life and love rather than dwell on the sad times. And boy, did it inspire the audience at Cadogan Hall and uplift them right out of their seats and onto their feet, clapping and cheering and singing along to what was a truly joyous occasion. Continue reading “Review: Grateful, starring Anton Stephans, Cadogan Hall”