Now this is how you do stunt casting! Linzi Hateley returns in glorious style to Joseph And The Amazing Technicolor Dreamcoat after 30 years
“May I return
To the beginning”
In a show already suffused with nostalgia for so many, the return of Linzi Hateley to Joseph And The Amazing Technicolor Dreamcoat is a warm hug of perfect decision making. It is a production that has already indulged a little in bringing back Jason Donovan – who played Joseph 30 years ago lest we forget – in the role of Pharoah, but Hateley is returning as the Narrator, the part that she originated (and for which she was Olivier nominated) and immortalised in the cast recording, meaning that this is literally the sound of my childhood coming to life!
For all my misgivings with Lord Lloyd Webber’s voting record and inter-relationship with the theatre ecology as a whole, Joseph is a show for which I have a huge fondness. From family trips to see it way back when, to singing in primary school productions, accompanying secondary school productions on the piano, to adding percussion to local drama group productions, plus catching it when it has perenially re-emerged on stages, its familiarity is the kind of smile-inducing, toe-tapping comfort that has been biting my tongue not to sing along every time I go. Continue reading “Review: Joseph And The Amazing Technicolor Dreamcoat, Palladium”
As a comedian, impressionist, game show host, reality TV star, soap, screen and stage actor, Les Dennis returns to the West End in the multi-award-winning smash hit musical Hairspray the Musical as Wilbur Turnblad having previously performed the role on tour. He stars alongside Michael Ball, who returns to his legendary, Olivier Award–winning role of Edna Turnblad. Lizzie Bea will star in the iconic role of Tracy Turnblad. Acclaimed West End star Marisha Wallace will take the role of Motormouth. Rita Simons (Eastenders’ Roxy Mitchell) and Jonny Amies (Granchester on ITV; Sex Education on Netflix/Eleven Film) will also join the cast as Velma Von Tussle and Link Larkin respectively.
The full company includes Georgia Anderson, Kimani Arthur, Dermot Canavan, Lori Haley Fox, Mari McGinlay, Ashley Samuels, Michael Vinsen and Imogen Bailey, Pearce Barron, Jordan Benjamin, Joel Cooper, Luke George, Christopher Gopaul, Bradley Judge, Winny Herbert, Lily Laight, Madeleine Lawton, Holly Liburd, Will Luckett, Mireia Mambo, Kody Mortimer, Robyn Rose, Tinovimbanashe Sibanda, Amy West and Natalie Woods. Continue reading “News: 4 West End shows announce their casts”
Let me wet your whistle, should it be needed, for Jeremy O Harris’ Daddy, which is promises to return to the Almeida Theatre when possible
“Let the doors be shut upon him, that he may play the fool no where but in’s own house.”
Like all right-minded people, I was particularly gutted to be missing Daddy at the Almeida Theatre due to the ongoing Covid-19 crisis. Jeremy O Harris’ play made waves in New York last year and was a hotly anticipated arrival. If you so desire, you can read any number of reviews from the USA but I am reliably informed that it’s best to go in as blind as possible which is what I still intend to do. But to wet your whistle in an approrpriate way, keep on reading.
Continue reading “Not-a-review: Daddy, Almeida Theatre”
There’s still a reason Mame hasn’t been seen in the UK for 50 years but this lavish Hope Mill Theatre production and a spectacular Tracie Bennett give it a damn good try
“Your special fascination’ll
prove to be inspirational
we think you’re just sensational”
In some ways you have to admire the ambition in reviving a show that hasn’t been seen professionally in the UK for 50 years. In others, you wouldn’t be blamed for blurting ‘what are you thinking’! The ever-adventurous folks at Manchester’s Hope Mill Theatre have done just that with this revival of Mame, hoping to find a glitzy neglected diamond in the rough. (And when oh when will they transfer their lovely take on Little Women to London like so many of their other shows.)
Director Nick Winston’s wisest decision is to mount it with a lavishly decadent production that you don’t often see on the fringe, especially with the likes of Tracie Bennett (so excellent in Follies recently) heading the cast. Getting to see a performer of the calibre of Bennett, with a voice like that, in such intimacy as this, is a rare treat and even singing a minor Jerry Herman score, is a genuine theatrical thrill.
Continue reading “Review: Mame, Hope Mill Theatre”
All change on the Strand for Dreamgirls and Kinky Boots post closing notices at the Savoy Theatre and Adelphi Theatre respectively, and I revisit both.
“Never let ‘em tell you who you ought to be
Come mid-January, the Strand will look a fair bit different for theatregoers as both Kinky Boots and Dreamgirls have posted advance closing notices, leaving the Adelphi and the Savoy respectively on the same date, Saturday 12th January. As sad as it is to see any show close though, both of these musicals have had a fairly decent run (Kinky Boots opened in August 2015, making it nearly 3 and a half years; Dreamgirls in November 2016, reaching two) and given how merciless the commercial market can be, I think both productions can hold their head up high with their West End runs.
And getting ahead of the game with those closing notices means that people still have many the opportunity to catch either or both of these shows before the final curtain. (I should add too, that both shows have announced that they will be touring the UK going into 2019.) I’ve paid both a revisit relatively recently and am happy to report that they both remain well worth seeing, due to some mighty fine performance. Oliver Tompsett has only just stepped into the role of Charlie Price but he is nigh-on perfect casting and his majestic voice suits Cyndi Lauper’s score down to a T and he’s clearly getting on well with Simon-Anthony Rhoden’s impressive Lola. Continue reading “Re-review: All change on the Strand for Dreamgirls and Kinky Boots”
Falling in love with Marisha Wallace in Dreamgirls is far too easy!
“You want all my love and my devotion”
As Dreamgirls goes into its second year in the West End and has just welcomed a new cast into the Savoy, what better time to revisit this most glittering of musicals. I must admit to going in with something of a sceptical mindset last time around, both in trying to resist the hype and letting thoughts of ticket prices and imported US leading ladies play on my mind. But all such things aside, this really is a belter of a show, a glowing, full-throated roller-coaster of an experience.
Marisha Wallace, Moya Angela and Karen Mav now share the role for which Amber Riley has won pretty much every award going and tonight’s Effie was the delightful Wallace, a powerhouse of a presence who pretty much nails it from start to finish. Another visitor from Broadway Brennyn Lark’s Deena is well played but I really loved Asmeret Ghebremichael’s Lorrell, possibly becoming the brightest of the Dreams despite the way the script goes. And off the men, Joe Aaron Reid’s Curtis remains a villainous delight.
It’s always lovely to see ensemble members be rewarded for their hard work and both Tosh Wanogho-Maud and Kimmy Edwards have made the leap, now playing Jimmy Early and Michelle Martin respectively. And the production as a whole remains as slick and shiny as it did when it first opened – with all those crystals, how could it not! Keep your eyes peeled for deals on the off-chance they pop up, or take a chance on TodayTix’s daily lottery – it’s worth the shot. And if that weren’t proof enough, here’s some productions shots courtesy of Dewynters. Continue reading “Re-review: Dreamgirls, Savoy”
“Anything can happen if you let it”
It is becoming increasingly clear that a show isn’t a show if a Strallen isn’t involved, even as an usher, and it is now the turn of Zizi to ascend to the role of leading lady, taking the title role in a mammoth UK tour of Mary Poppins which has started at the Curve in Leicester and which is already booking through to this time next year. And it isn’t too hard to see why such confidence has been invested in the future of the show when it is as stupendously good a piece of musical theatre as this.
I never got round to seeing the show in the West End – Julian Fellowes’ book building on P.L. Travers’ original books as well as the Disney film and composing duo Stiles + Drewe adding to the iconic score by the Sherman Brothers – and it’s an age since I saw the film so it really did have all the glorious impact of being a fresh new show for me but even if you did manage to see it, the lure of this fresh new production ought to tempt you along to one of the cities where it is playing to relive the joy. Continue reading “Review: Mary Poppins, Curve”