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The Make A Difference Trust today announce the release of the charity single I Dare You. The track featuring a host of stars of the West End stage will be released on Tuesday 16 March 2021, to mark the anniversary of the day UK Theatres went dark in 2020.
With an appeal by Vanessa Williams, raising funds for the MAD Covid-19 Emergency relief Fund, singing together for the first time are Aimie Atkinson, Samantha Barks, Sharon D Clarke, Kerry Ellis, Shaun Escoffery, Shanay Holmes, Francesca Jackson, Cassidy Janson, Aisha Jawando, Tosh Wanogho-Maud, Jamie Muscato, Eva Noblezada, Natalie Paris, Jay Perry, Louise Redknapp, Oliver Tompsett, Faye Tozer, Sally Ann Triplett, Rachel Tucker, Marisha Wallace and Layton Williams. Continue reading “News: I Dare You – Charity Single To Be Released on 16 March”
A trio of festive album reviews with If The Fates Allow: A Hadestown Holiday Album, Leslie Odom Jr – The Christmas Album and Michael Ball & Alfie Boe – Together at Christmas
“Oh, my love, we live in troubled days”
No word of a lie, since starting to play Christmas music last week, I’ve listened to If The Fates Allow: A Hadestown Holiday Album everyday, it truly is that joyous. It’s a brilliant twist on the Christmas album that takes a slightly left-field approach to its festive track selection and then thoroughly imbues it all with the irrepressible spirit and way down musicality of Anaïs Mitchell’s soul-raising Hadestown. Led by the gorgeous voices of Yvette Gonzalez-Nacer, Kay Trinidad and Jewelle Blackman, aka The Fates, and featuring the rest of the cast of the show’s Broadway production, the album features original songs from Mitchell, Gonzalez-Nacer and the show’s MD Liam Robinson alongside festive staples and some Marvin Gaye, Leonard Cohen and Sara Bareilles for good measure.
What really makes If The Fates Allow… sing is the way in which the sound of Hadestown is folded into the record – never mind the Ghost of Christmas Past, this collection is haunted by the spirits of Christmas Ancients. Musical motifs from the show shimmer beautifully in unexpected places and it is just spine-tinglingly effective; so too the iconic brass sounds that pepper ‘Thank God It’s Christmas’, an ingenious way of reinterpreting familiar songs through an inimitable musical identity. A cynic might demur at such an exercise in brand extension but they would just be wrong. Just listen to Patrick Page’s profundo on Cohen’s profound ‘Come Healing’ with its harmonious backing, or the ragtime-influenced take on ‘Sleigh Ride’, or the hushed splendour and lyrical incisiveness of Mitchell original ‘Song of the Magi’. Surely destined to become a perennial festive favourite whether you’re way down underground or livin’ it up on top. Continue reading “Christmas album reviews: If The Fates Allow: A Hadestown Holiday Album / Leslie Odom Jr – The Christmas Album / Michael Ball & Alfie Boe – Together at Christmas”
Encouraged by their Curtain Up nominations, I take a quick look at the Broadway cast recordings for Hadestown, Jagged Little Pill and Oklahoma!
“I want you to know, that I am happy for you”
I’m not quite sure why I haven’t got around to reviewing the original Broadway cast recording of Hadestown since I listen to it at least once a week, such is the enduring strength of Anaïs Mitchell’s glorious score. I loved the show so much at the National, that I’d already booked to go and see it again before I got home that evening, and getting to dive deep into this recording is about as close as I’ll get to seeing it again (I doubt it’ll return here any time soon although the West End is crying out for its inventiveness).
Those of us who loved the show in London are blessed that the Broadway transfer retained its key cast. So the intense vitality of Amber Gray, the easy swing of André De Shields, the indie-pop sweetness of Reeve Carney and Eva Noblezada and the gravelly hotness of Patrick Page remain intact. And those tunes! The plaintive cries of ‘Wait for Me’, the slinkiness of ‘When the Chips Are Down’, the incredible prescience of ‘Why We Build The Wall’, the sheer glee of ‘Way Down Hadestown’, it is a winner from start to finish for me. Continue reading “Broadway Album Reviews: Hadestown / Jagged Little Pill / Oklahoma!”
You can now vote for the Best London Cast Recording, Best Broadway Cast Recording and Best Solo Album here. Then fill in your details and click Vote and one lucky voter will win £100 worth of Theatre Tokens!
Best UK Cast Recording
& Juliet – Original London Cast Recording
Company – 2018 London Cast Recording
Follies – 2018 National Theatre Cast Recording
Heathers (Original West End Cast Recording)
The Secret Diary of Adrian Mole Aged 13 ¾ – 2019 Original London Cast
Tina – The Tina Turner Musical Original Cast Recording
Best American Cast Recording
Beetlejuice (Original Broadway Cast Recording)
Hadestown (Original Broadway Cast Recording)
Jagged Little Pill (Original Broadway Cast Recording)
Moulin Rouge (Original Broadway Cast Recording)
Oklahoma! (2019 Broadway Cast Recording)
Tootsie (Original Broadway Cast Recording)
This trio of album reviews covers Singing You Home: Children’s Songs for Family Reunification, Mamma Mia! Here We Go Again (2018 Film Soundtrack) and Vanara the Musical
“Ay, ay, ay, ay, canta y no llores”
Regardless of your politics, Singing You Home: Children’s Songs for Family Reunification is a really rather lovely album of bilingual children’s songs. But in this day and age nothing is not political and the current US administration’s policy of child separation is a genuine atrocity that it is hard to know how to respond. Laura Benanti had the nous to conceive this project though and produced it with Mary-Mitchell Campbell and Lynn Pinto, and a whole host of the great and good of the American musical theatre. Thus this is more than just your usual set of lullabies – Lin-Manuel Miranda and Mandy Gonzalez crooning on the Mexican song ‘Cielito Lindo’, Audra McDonald shining on Jason Robert Brown’s ‘Singing You Home’, Kristin Chenoweth’s ‘Beautiful Dreamer’, well worth the investment for this uniquely exceptional cause. Continue reading “Album Reviews: Singing You Home / Mamma Mia! Here We Go Again / Vanara the Musical”
Gary: A Sequel to Titus Andronicus
What the Constitution Means to Me
Ain’t Too Proud
Tootsie Continue reading “The complete 73rd Tony nominations”
|Best Actress in a Play||Leah Harvey, Clare Perkins & Vinette Robinson, Emilia||Sarah Gordy, Jellyfish||Patsy Ferran, Summer and Smoke
Marieke Heebink, Oedipus
Elinor Lawless, To Have To Shoot Irishmen
Carey Mulligan, Girls and Boys
Sarah Niles, Leave Taking
|Best Actor in a Play||Kyle Soller, The Inheritance||Hans Kesting, Oedipus||Ben Batt, The York Realist
Ian Bonar, Jellyfish
Paapa Essiedu, The Convert
Richard Harrington, Home I'm Darling
Shubnam Saraf, An Adventure
|Best Supporting Actress in a Play||Cecilia Noble, Nine Night||Martha Plimpton, Sweat||Adjoa Andoh, Leave Taking
Eva Feiler, A Midsummer Night's Dream (Watermill)
Penny Layden, Jellyfish
Lashana Lynch, ear for eye
Charity Wakefield, Emilia
|Best Supporting Actor in a Play||Paul Hilton, The Inheritance||Forbes Masson, Summer and Smoke||Louis Bernard, Much Ado About Nothing (Antic Disposition)
Demetri Goritsas, ear for eye
Wil Johnson, Leave Taking
Nicky Priest, Jellyfish
Sam Troughton, Stories
|Best Actress in a Musical||Rosalie Craig, Company||Kaisa Hammarlund, Fun Home||Bonnie Langford, 42nd Street
Eva Noblezada, Hadestown
Caroline O'Connor, The Rink
Gemma Sutton, The Rink
Adrienne Warren, Tina the Musical
|Best Actor in a Musical||Steven Miller, Sunshine on Leith||Andrew Finnigan, Drip||Paul-James Corrigan, Sunshine on Leith
Arinzé Kene, Misty
Michael Mather, Mythic
Leon Scott, Midnight
Zubin Varla, Fun Home
|Best Supporting Actress in a Musical||Patti LuPone, Company||Amber Gray, Hadestown||Naana Agyei-Ampadu, Caroline or Change
Vivien Carter, Sweet Charity (Watermill)
Genevieve McCarthy, Mythic
Hilary McLean, Sunshine on Leith
Seyi Omooba, Christina Modestou & Renée Lamb, Little Shop of Horrors
|Best Supporting Actor in a Musical||Jonathan Bailey, Company||Patrick Page & André de Shields, Hadestown||Alex Cardall, Sweet Charity (Watermill)
Alex James Ellison,
The Secret Garden
Richard Fleeshman, Company
Matt Willis, Little Shop of Horrors
Best Actress in a Play
Leah Harvey, Clare Perkins, Vinette Robinson, Emilia
For the second year running, this award goes three ways as apparently I’m a sucker for a women-heavy production (who knew!). But there’s something more here, it wasn’t just about how Harvey, Perkins and Robinson shared the role of the title character in Emilia, its how they supported each other through it as well, reinforcing the play’s cry for the necessity of solidarity. Everyman? Every-Emilia!
Honourable mention: Sarah Gordy, Jellyfish
A deeply empathetic performance from Gordy underscored the undersung importance of this production – her searingly honest Kelly opened the eyes and touched the hearts of surely everyone who saw Jellyfish.
Best Actress in a Musical
Rosalie Craig, Company
Crowding us with love, forcing us to care…Craig’s initial casting as Bobbie garnered all sorts of headlines but once Marianne Elliott’s production opened, that attention was more than justified by a sterling turn from this most versatile of actors (don’t forget she’d only just finished a run in The Ferryman). A strikingly contemporary figure, she both integrated Bobbie better into the ensemble than ever before and made her stand out at just the right moments, ie making sure she got hers from Andy!
Honourable mention: Kaisa Hammarlund, Fun Home
Given some of the things that transferred into the West End, especially now the Ambassador’s has been freed up, it’s a travesty that Fun Home didn’t get to further its journey (for now at least), especially since it was anchored by a finely nuanced performance from the excellent Hammarlund. A small saving grace is that she’s now free to lead the cast of Violet in the New Year.
Way down in Hadestown at the National Theatre is one of the best musicals of the year
“Damned if you don’t. Damned if you do.
Whole damn nation’s watching you”
I loved Hadestown so much that I had booked to see it for a second time before I even got home from the first. Read more about that trip here, including me trying the National’s new smart caption glasses, and read on for a review that focuses properly on Anaïs Mitchell’s brilliant musical here. An adaptation of the tale of Orpheus and Eurydice, developed with director Rachel Chavkin, it riffs on the myth by relocating the action to a dive bar in the Deep South and redefines hell for our capitalist age. And they fill the Olivier with music, such music, that transforms Hadestown into the kind of experience that lingers long in the mind.
Mitchell’s score succeeds so much because it establishes such an identity for itself that it dares you not to be seduced into the world of the gods, or at least New Orleans. At its best, its simply elemental – ‘Way Down Hadestown’ has the kind of tune that sounds like it has always existed and will not quit your brain anytime soon. And as you collect the influences – hints of Jason Robert Brown on ‘All I’ve Ever Known’, the Johnny Cash-esque call and response of ‘Why We Build The Wall’, the straight up musical theatre emotion of ‘Wait For Me”s chorus, to name but a few – you realise a new form of Americana has evolved here. Continue reading “Review: Hadestown, National Theatre”