An online bite-sized musical murder mystery? A Killer Party boasts a strong cast if not quite the killer instinct
“Did you always want to work as a traffic warden?’ Did you always want to work in an unviable industry?'”
A Killer Partyis a curious thing. A murder mystery musical broken up into 9 episodes which can be watched at your own pace, it wears its lockdown origins a little too closely given how far the quality of digital theatre offerings have come over the last few months.
Written by Rachel Axler and Kait Kerrigan (book), Jason Howland (music), and Nathan Tysen (lyrics) and adapted for British audiences following its US-centric debut last years, we follow the case of Varthur McArthur, the artistic director of Blackpool’s
smallest regional theatre who is offed during a read-through for his latest production. Who’s your suspect? Take your pick from any of the theatrical stereotypes on offer. Continue reading “Review: A Killer Party”
The five–time Oscar®-nominated film will be brought to life once again by a cast of actor-musicians and set to a critically acclaimed re-orchestrated score. With music by Hem’s Daniel Messé, lyrics by Nathan Tysen and Daniel Messé and book by Craig Lucas, Amélie The Musical is directed by Michael Fentiman. The full cast includes Sioned Saunders as Gina, Flora Spencer-Longhurst as Georgette, Rachel Dawson as Amandine/Philomene, Oliver Grantas Lucien/Mysterious Man, Chris Jared as Nino Quincampoix, Caolan McCarthy as Hippolito/Elton John, Samuel Morgan-Grahame as Joseph/Fluffy, Kate Robson-Stuart as Suzanne, Jack Quarton as Blind Beggar, Jez Unwin as Raphael/Bretodeau and Johnson Willis as Collignon/Dufayel. Nuwan Hugh Perera,Miiya Alexandra,Robyn Sinclair and Matthew James Hinchliffe complete the ensemble. Continue reading “Musical news aplenty”
With a ‘roadmap’ in place, the West End is starting to make plans for a summer that might look something close to normal
The Prince of Egypt will return to the Dominion Theatre from 1st July, operating under socially distanced restrictions until 4th September, after when they intend to return to ‘normal’! The show has also extended its run until Saturday 8th January 2022.
The production has confirmed that the entire cast and orchestra of almost 60 artists, will be presented in its original form at all performances. The cast of 43 is led by: Luke Brady (Moses), Liam Tamne (Ramses), Christine Allado (Tzipporah), Alexia Khadime (Miriam), Joe Dixon (Seti), Debbie Kurup (Tuya), Mercedesz Csampai (Yocheved), Adam Pearce (Hotep), Tanisha Spring (Nefertari) and Silas Wyatt-Barke (Aaron). Further casting is to be revealed. Continue reading “News: the West End starts to make plans…”
It’s behind you. The Turbine lunges for the adult panto market with the brief if raucous fun of Cinderella – The Socially Distanced Ball
“Are you ready for some good old-fashioned family fun? Well you’re in the wrong fucking place”
Just a quickie for this as you pretty much already know whether you like pantomime or not and heaven knows, Cinderella – The Socially Distanced Ball isn’t the show that is going to change your mind about that. There’s been a rise in these adult pantos which in some ways are a no brainer, catering to a festive audience who want to drink merrily without children running in the aisles, but there’s a real skill to the best panto writing that locates a sweet spot of humour that can hit home for both adults and kids.
This Cinderella, penned by Jodie Prenger and Neil Hurst, makes no pretence at finding such a balance, it is proudly full-on smut from the word go and the highly game company, directed by Lizzy Connolly, throw themselves whole-heartedly into the filthy frolics and profane prose. Cut down to just over an hour and six characters, there’s barely time for the show to outstay its welcome and a nifty song and dance or two offers ample opportunity for the players to shine, particularly Scott Paige and Oscar Conlon-Morrey’s wonderfully vile Ugly Sisters.
Supporting the COVID-19 Emergency Relief Fund Featuring over 150 performers and musicians, reunited from across the world to present a truly unique, memorable and breath-taking performance of ‘All That Jazz’ from the legendary Kander and Ebb musical Chicago. Bringing together former Broadway, West End and International Tour company members, ‘All That Jazz’ provides plenty of razzle dazzle, featuring award winning stars that played the roles of Velma Kelly, Roxie Hard and Billy Flynn including Ute Lemper, Sally Ann Triplett, Debbie Kurup, Bonnie Langford, Sue Kelvin, Ian Kelsey, Michael Greco, David Hasselhoff, Annette McLaughlin, Gaby Roslin, and many more.
The Almeida has announce their new programme of socially-distanced theatre for Christmas 2020 and into 2021:
Nine Lessons And Carols: stories for a long winter, a new production created by Associate Director Rebecca Frecknall, Chris Bush and a company of six actors – Naana Agyei-Ampadu, Katie Brayben, Toheeb Jimoh, Elliot Levey, Maimuna Memon and Luke Thallon.
The Maladies, performed by the Almeida Young Company (18-25), written by Carmen Nasr.
There’s two songs I could listen to for ages on the Original Cast Recording of The Prince of Egypt but I could easily leave the rest
“No power on earth can change that, brother”
There was a moment in the last couple of days as I listened to ‘Make It Right’ for the umpteenth time that I wondered whether I’d been a bit harsh to The Prince of Egypt when it opened in late February. I’d made the note ‘lovely duet’ at the time and on record, the sweet/strong combination of Liam Tamne and Luke Brady’s voices is an absolute winner as their fraternal connection is tested over soaring contrapuntal melodies and an orchestral backing that flows as effortlessly as the Red Sea
So too, the show’s most famous song (so much so that the publicity campaign basically centred on it) ‘When You Believe’ has a choral majesty that is undeniable. Alexia Khadime and Christine Allado lead the company with real style – the interplay of their voices in the middle chorus is spine-tingingly lovely – and the incorporation of the Hebrew-sung bridge (led by Mia Lakha) is a rare graceful moment of geo-specificity that works. Continue reading “Album Review: The Prince of Egypt (Original Cast Recording)”
Despite an excellent cast, The Prince of Egypt might be in need of a miracle at the Dominion Theatre
“For the rest of my life I’ll have to live with this”
Way way back, many centuries ago, but a little bit more after the Bible began, someone decided that Old Testament justice really was the way forward for musical theatre. And so here we have a musical that features two ethnic massacres of children but it’s all OK if you sing a ballad afterwards to atone (even if you’ve sanctioned the murder of your de facto nephew) and others will then tell you it’s ok “when you believe”.
The Prince of Egypt picks up a few generations after Joseph and co set up shop in the land of the Nile, where the Hebrew population is now spiralling out of control for the Egyptian authorities. Enlightened thinking about immigrants hasn’t quite reached these shores, so the Hebrews find themselves enslaved and upon the order of the slaughter of all their newborn boys by a grumpy Pharoah Seti, an intrepid Yocheved pops her baby into a basket and hopes that he’ll get picked up by a queen rather than a crocodile. Continue reading “Review: The Prince of Egypt, Dominion Theatre”