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 haspereniallyre-emergedon 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”
Priscilla Queen of the Desert will restart its tour at the Everyman Theatre, Cheltenham on 23rd June. Miles Western will take on the role of Bernadette, with Nick Hayes as Adam/Felicia and Edwin Ray playing Tick/Mitzi. They are joined by Daniel Fletcher (Bob), Rebecca Lisewski (Marion), Kevin Yates (Miss Understanding), Gracie Lai (Cynthia) and Ronan Burns (Frank). The Divas will be played by Claudia Kariuki, Rosie Glossop and Aiesha Pease, and the cast is completed by Emma Katie Adcock, Jak Allen Anderson, Allie Daniel, Martin Harding, Clarice Julianda, Jemima Loddy, Nathan Ryles, Tom Scanlon and Jermaine Woods.Continue reading “News: a whole load of UK musical tour casting announcements”
Auburn Jam Music are delighted to be releasing ‘You Will Be Found’ by #CheerUpCharlie & West End Friends, a fundraising charity single in aid of youth charity The Diana Award, on Sunday 15 November to tie in with the start of National Anti-Bullying Week (16-20 November).
SIX reunite, The Theatre Channel switches on, The Shows Go On return and casting is revealed in Bath
The Reunion is the first stage+streaming concert performance by seven powerhouse vocalists who rose to fame as the original West End queens of the musical SIX: Aimie Atkinson,Alexia McIntosh,Grace Mouat,Jarneia Richard-Noel,Maiya Quansah-Breed,Millie O’Connell, and Natalie Paris. The show will be livestreamed by theatre platform Thespie but a lucky few will also be able to get tickets to see the concerts live on Saturday 10th and Sunday 11th October.
Performances will be held in Oval Space, a spacious and well-ventilated East London venue that has been entirely reimagined for safe, seated music and theatre performances. The seating plan is entirely flexible which allows seating to be customised to the audience that books. Audiences book for themselves and their household or support bubble only (to a maximum of six), and Thespie’s technology determines a seat plan that ensures safe spacing between households and optimises use of the space. Continue reading “More September theatre news”
The nominations for the 20th Annual WhatsOnStage Awards have been announced and I have a thought or two #justiceforAnneHathaway
As a publicly nominated affair, the What’s On Stage Awards always throw up an interesting set of nominations, as fanbases engage alongside theatregoers to produce an idiosyncratic reflection on the year. This year though, the nominees for the nine creative categories (Choreography, Costume Design, Direction, Graphic Design, Lighting Design, Musical Direction, Set Design, Sound Design and Video Design) have been decided by an independent panel of industry experts appointed, which has resulted in some pleasing inclusions for the likes of Equus and Small Island.
Acting-wise, the focus does land a little heavily on the more famous names (plus ça change) and that Supporting Actress in a Musical category is super-crowded (the Dear Evan Hansen mothers would have been a shoo-in for me there). My only real point of issue comes with the categorisation for the & Juliet players – are you really going to nominate Oliver Tompsett as a lead and then put Cassidy Janson in the supporting category? Did you not see the show, or get any of its message at all?!
I make my own suggestions about interpretations of Andrew Lloyd Webber songs that could have been included on his new compilation album Unmasked
“They must have excitement, and so must I”
In a world of Spotify and iTunes and other online music services, compilation albums ought to have died a death. But the enduring success of the Now That’s What I Call Music series puts the lie to that, showing that while the idea of curating your own content is tempting, many of us prefer to let someone else do it for us.
“Even with a turkey that you know will fold You may be stranded out in the cold”
Blessed with one of the almighty scores of Broadway history, you’d think that productions ofAnnie Get Your Gunwould be the simplest of gimmes but given that it is very much a piece of writing of its time, it’s not quite as easy as that (as I discovered recently in seeing Carousel for the first time). The gender politics therein are dubious at best and the treatment of Native Americans also speaks of severely outdated attitudes, so directors are faced with something of a conundrum. The Young Vic just went bizarre with it back in 2009 and now a major UK touring production by Ian Talbot opts for the ‘play within a play’ route, the framing device often used in The Taming of the Shrew to address similarly thorny issues.
Elements of the show have also been removed and tinkered to further redress the gender balance but in all honesty it feels like a step too far – applying both of these patches detracts from their intentions. If it is a bit of meta-theatre, then surely it can just be played as is, as we know not to take it seriously; or if we’re reinventing the story for 21st century eyes, then just rewrite it wholesale. Instead we’re left with something which never really achieves either aspect on a dramatic level, something exacerbated by the limitations of a touring set design. Fortunately, the production sounds like a dream with a superb orchestra though and has some cracking performances in it from a cast who deliver the utterly timeless score by Irving Berlin with all the panache it deserves. Continue reading “Review: Annie Get Your Gun, Churchill Bromley”
“Everyone likes to dress up, wear some sequins, get in touch with their feminine side…apart from lesbians that is”
When I found out a great Canadian friend who just happens to be a huge musicals fan was stopping in town briefly in the festive season, I had little doubt of what would be the best thing for us to see:Priscilla Queen of the Desert. For this is not a show about about subtlety: using a carefully judged collection of familiar pop songs, some amazing costumes and a production design team whose maxim was clearly ‘more more more’, this is a fun-packed, crowd-pleasing spectacular that was the perfect anecdote to the horrible weather.
It’s based on the film of the same name, where three ill-matched drag performers take a road trip from Sydney to Alice Springs to meet up with the estranged wife and son of one of them, and little has been changed. Of the three leads, Tony Sheldon is superb as the transexual Bernadette, armed with a lifetime’s collection of quick one-liners, a steady grace and an unerring conviction in who she is. The trumpet anecdote is one of the funniest things you will hear all year and Sheldon’s performance holds the show together, elevating it beyond a series of drag turns. Continue reading “Review: Priscilla Queen of the Desert, Palace”