News about new musicals in Leicester and Maidstone, plus concerts in the West End and Chiswick
The line up has been confirmed for the first concert of the series for Monday Night at the Apollo – which will be performed in front of a socially distanced audience at the Apollo Theatre on Shaftesbury Avenue on Monday 24 May, and simultaneously livestreamed to viewers at home via the theatre discovery platform Thespie.
Aimie Atkinson (Six, Pretty Woman), Cassidy Janson (&Juliet, Beautiful), Lucie Jones (Waitress, Rent), Cedric Neal (Chess,Motown the Musical) and Julian Ovenden (South Pacific, Downton Abbey) will join on-stage for an intimate night of music and theatrical chat, featuring ovation worthy performances of songs from their favourite genres with host Greg Barnett (Miss Littlewood, Swallows and Amazons).Continue reading “Some musicals news from the last week”
A trio of charity singles supporting some great causes over Christmas
Martin Dickinson is releasing a cover of ‘You Raise Me Up’ as a charity single for Shooting Star Children’s Hospice. The track is released on Friday 11th December and features an introduction from the marvellous Brenda Edwards and a choir featuring Kimberley Ensor, Charlotte O’Rourke, Louise Young, Jordan Lee Davies andDanny Whitehead.
Two versions of the single will be available – a full version/radio edit and a music video will arrive on streaming platforms including iTunes, Amazon and Spotify. Continue reading “Charity singles galore”
Following an online concert that took place earlier this year, Kings of Broadwaywill entertain live audiences this December. The musical celebration will take place at the Palace Theatre on 9th December, just a week after the upcoming England lockdown is said to end.
Jule Styne, Jerry Herman & Stephen Sondheim get a worthy lockdown tribute in Kings of Broadway 2020
“Knock-knock! Is anybody there?”
There certainly was a whole lot of people there as the online concert of Kings of Broadway 2020 in support of NHS Charities Together and Acting for Others brought a large dose of classic musical theatre back into our lives. Expertly marshaled by musical director and pianist Alex Parker, the choice to spotlight Black Lives Matter through a recital of Maya Angelou’s ‘And Still I Rise’ was a good one, even if it showed the relative caucasity of the main line up. Continue reading “Review: Kings of Broadway 2020”
The works of Jule Styne, Jerry Herman and Stephen Sondheim will be celebrated in a concert to support NHS Charities Together and Acting for Others
Participating remotely in the suitably testosteroney entitled Kings of Broadway 2020will be Liz Callaway, Michael Colbourne, Deborah Crowe, Jordan Lee Davies, Louise Dearman, Janie Dee, Fra Fee, Rob Houchen, Damian Humbley, Ramin Karimloo, Claudia Kariuki, Emma Kingston, L Morgan Lee, Rebecca Lock, Nadim Naaman, Anna O’Byrne, Fiona O’Carroll, Jamie Parker, Laura Pitt-Pulford, Clive Rowe, Jenna Russell, Lucy Schaufer, Celinde Schoenmaker, Caroline Sheen, Samantha Spiro, Laura Tebbutt, Michael Xavier and Alex Young.
Creatively, the evening will feature musical direction from Alex Parker, it will be mixed by Jack Blume, edited by Ben Hewis and will have additional mixing and editing support from Martin Higgins.
Not a bad line-up eh? You can watch the show on Quick Fantastic’s YouTube channel at 7pm on Sunday 31st May and though it is billed as free, please think about making a donation, however small you think it might be, every little helps.
Caught in a bad romance, a gayed-up take on Romance Romance does nothing for me at the Above the Stag theatre
“There are days he blows his fuse now And there are nights he’s just not there”
Romance Romance was nominated for 5 Tonys in 1988 and performance nods aside, you have to wonder what the standard of the other nominees was (actually, they included The Phantom of the Opera and Into the Woods…!) as its charms really rather eluded me.
Steven Dexter’s production reframes Barry Harman’s book and lyrics into a gay context which certainly has interest. But the disparity of the two acts, based respectively on Arthur Schnitzler’s The Little Comedy and Jules Renard’s Le Pain de Ménage, means it is a curiously disengaging watch. Continue reading “Review: Romance Romance, Above the Stag”
A trio of West End cast recordings (well, one’s off-West-End…) show that it is sometimes hard to recapture the stage magic
Starting off with the best of this bunch, the Southwark Playhouse’s production of Working might not have seemed like the obvious choice for a cast recording but maybe the lure of a couple of new Lin-Manuel Miranda tracks was a real sweetener.
Truth is, it is the quality of the cast’s performances that make this a fantastic addition to the list of albums you need to hear. From Siubhan Harrison’s impassioned ‘Millwork’ to Dean Chisnall’s gleeful ‘Brother Trucker’, and the highly charismatic Liam Tamne nails both of Miranda’s contributions – the wilful ‘Delivery’ and a corking duet (with Harrison) on ‘A Very Good Day’.
Experience pays though, as Gillian Bevan and Peter Polycarpou take the honours with some scintillating work. The latter’s ‘Joe’ is beautifully judged, as is the former’s ‘Nobody Tells Me How’, both demonstrating the uncertainty that can come at the end of a long career, when retirement doesn’t necessarily hold the joyful promise it once did. Highly recommended. Continue reading “Album reviews: Working / Bat out of Hell / 42nd Street”
Nobody’s on nobody’s side – an all-star cast can’t save this game of Chess from itself, for me at least
“From square one I’ll be watching all sixty-four”
It’s taken over 30 years for Chess to return to the West End (though it was seen at the Union in 2013) and though it has a huge amount of resource thrown at it in Laurence Connor’s production for English National Opera, it doesn’t necessarily feel worth the wait. An 80’s mega-musical through and through with an intermittently cracking score from ABBA’s Benny Andersson and Björn Ulvaeus, Richard Nelson’s book hasn’t aged particularly well and bears the hallmarks of the substantial tinkering it has had at every opportunity.
It’s not too hard to see why it has needed the tinkering. The mix of Cold War politics told through the prism of rival US and Soviet chess Grandmasters, love triangles and power ballads is a tricky one to get right and part of the problem seems to be just how seriously to take it all. On the one hand, the chess matches are backgrounded with montages of the real-life tensions of the 80s; on the other, scenes that take us through the various locations of the tournaments are a cringeworthy riot of cultural stereotyping that revel in their utter kitsch. Continue reading “Review: Chess, London Coliseum”