The Barn Theatre has announced that Busted and Son of Dork co-founder James Bourne will join an all-star West End line up for their third virtual concert, The Barn Theatre Presents: The Music of Elliot Davis, which will celebrate the work of Loserville composer Elliot Davis.
The concert, which will be hosted by Barn Theatre producer Jamie Chapman Dixon, is the third edition of the Barn Theatre in Cirencester’s virtual concert series, The Barn Presents, which celebrates the work of British musical theatre composers. Continue reading “News: Line-up announced for Elliot Davis virtual concert”
Sam Mendes’ 1917 is undoubtedly an technically excellent film but the focus on format ends up detracting from the depth of the storytelling
“You’ll be wanking again in no time!
There’s no doubting the technical audacity of Sam Mendes’ 1917. With its ostensibly one-shot, real-time structure (with necessary caveats that it is neither), it is a bravura piece of film-making that elevates this movie from just your average Oscar-baity war flick (cf Dunkirk).
It is clearly a labour of love for Mendes, who directed, co-wrote (with Krysty Wilson-Cairns) and produced 1917, and whose grandfather’s own war experiences inspired the film. And its driving force, following 2 British soldiers tasked with delivering a vital message beyond enemy lines. Continue reading “Film Review: 1917 (2019)”
Best Actor in a New Production of a Musical
Alex Wadham, The Full Monty: The Musical, Old Joint Stock Theatre, Birmingham
Giles Terera, Hamilton, Victoria Palace Theatre
Jamal Kane Crawford, Fame, UK Tour
Jamie Muscato, Heathers The Musical, The Other Palace/Theatre Royal Haymarket
Louis Maskell, The Grinning Man, Trafalgar Studios
Marc Antolin, Little Shop of Horrors, Regent’s Park Open Air Theatre
Best Actor in a New Production of a Play
Aidan Turner, The Lieutenant of Inishmore, Noël Coward Theatre
Ben Batt, The York Realist, Donmar Warehouse/Crucible Theatre, Sheffield
Ian McKellen, King Lear, Chichester Festival Theatre
Matthew Tennyson, A Monster Calls, Old Vic
Reed Birney, The Humans, Hampstead Theatre
Tyrone Huntley, Homos, Or Everyone in America, Finborough Theatre Continue reading “2018 BroadwayWorld UK Awards Shortlist”
Perfect for the ‘incurably romantic’, Emma Rice’s Brief Encounter is a glorious piece of theatre at the Empire Cinema Haymarket
“This is my whole world and it’s enough, or rather it was until a few weeks ago”
How we change over a decade. When Kneehigh’s Brief Encounter was first announced to take over the cinema on Haymarket, I went to maybe one play a month and was the proud owner of a Cineworld card, so was disgruntled that my West End film options were being curtailed. I did not see the show.
Fast forward 10 years, I can’t remember the last film I saw in a picturehouse, the cinema has been taken over by Empire, and director/adaptor Emma Rice has had quite the ride herself over the last few years. So who can blame her for returning to happier times, happier memories, in reviving this much-loved production. Continue reading “Review: Brief Encounter, Empire Cinema Haymarket”
“How can I hope to make you understand”
Though my life has long been filled with musicals, Fiddler on the Roof has never been the one. I’ve only ever seen it the once (2013’s touring version) and though I quite enjoyed it then, I can’t say I was hankering after seeing another production. And though Daniel Evans’ hands are sure indeed when it comes to classic musicals, I found something rather uninspired both about the choice of programming it for his new Chichester home (although it is an absolute banker) and in his production.
It is perfectly decent, and the quality is solidly good throughout. Omid Djalili is an effective presence as Tevye, Tracy-Ann Oberman is very good as Golde, and it is always nice to see Louis Maskell onstage. But Evans is a director (and artistic director) who has made my heart sing with glorious revivals such as My Fair Lady and Show Boat (and Company and Me and My Girl) and I missed that kind of magic emanating from the unforgiving vastness of the Chichester Festival Theatre’s main stage. Continue reading “Review: Fiddler on the Roof, Chichester Festival Theatre”
“When I’m with you, normal rules don’t
I have to admit that seeing pop-rock on the description of a show always gives me a little pause, my preference always tending towards a genteel piano and strings arrangement when it comes to my musical theatre. So it was a pleasure to discover that I really enjoyed Tim Prottey-Jones and Tori Allen-Martin’s score for Muted, a musical previously known as After The Turn while in development by Interval Productions.
And it is a fascinating show too, with a book by Sarah Henley which unfolds around the story of Michael, a young musician on the verge of a big break whose life is shattered when his mother is killed in a hit-and-run accident. Rendered mute by the loss and under the care of his uncle, his life only begins to show signs of restarting when an ex-girlfriend comes to visit and we see just how much the death reverberated around this group of people. Continue reading “Review: Muted, Bunker Theatre”
This trio of brief album reviews covers The Concrete Jungle, 110 in the Shade and Theseus
“When the men folks see me shimmy by
Gonna break right out in shingles”
Bobby Cronin is a new musical theatre composer in the mould of Jason Robert Brown and the International Studio Cast Recording of his show The Concrete Jungle is a rather appealing listen. Aided by a strong cast – including Rebecca Trehearn, Alex Gaumond, and Jos Slovick – this modern riff on Cyrano is witty and tuneful and well worth the tracking down. Continue reading “Album Reviews: The Concrete Jungle / 110 in the Shade / Theseus”
The inevitable end-of-year lists of favourite plays and performances will be soon be coming (I just have to, you know, stop seeing shows…) but something I did last year which I really enjoyed was a compendium of “top moments in a theatre”, the breath-taking, show-stopping aspects of productions that have etched themselves in my mind over the past year. Continue reading “10 of my top moments in a theatre in 2015”
An early birthday from my Aunty Jean saw me get to revisit those wonderfully swiveling seats at the Royal Albert Hall for the matinée of Follies in Concert, a semi-staged version of the Sondheim show directed by Craig Revel-Horwood for just two performances with an all-star cast, featuring none other than Diane Lockhart herself, Christine Baranski. Having never seen the show before, I have nothing to compare it too but after hearing the score played by the City of London Philharmonic Orchestra and conducted by the inimitable Gareth Valentine, I suspect I may never need to hear another version!
The set-up of a reunion concert for an old theatrical troupe as per James Goldman’s book works wonders for the show and especially this production. There seemed to be real joy and appreciation amongst the company as they watched their colleagues each take their turn to reprise their former glories – Anita Harris and Roy Hudd’s light-hearted skip through ‘Rain on the Roof’, Stefanie Powers’ glamorous swish through ‘Ah, Paris!’, Lorna Luft’s quirky take on ’Broadway Baby’, Betty Buckley raising the roof with a soaring ‘I’m Still Here’ – whether the onlookers were acting or not, seeing them give each turn hugs, kisses and standing ovations felt real. Continue reading “Review: Follies in Concert, Royal Albert Hall”
“I’m not a man who finds gestures of affection the natural thing to do”
Over the past decade or so, writer and lyricist Robert Gould has worked with a wide range of composers from across the globe and amassed quite the contact list of performer friends, so the progression to recording a collection of his songs feels like a natural one. Words Shared With Friends thus takes in collaborations from the USA to Sweden and Israel, with excerpts from eight different shows and some stand-along songs, and features a roll-call of exciting musical theatre talent including the likes of Laura Pitt-Pulford, Kit Orton, Joe Sterling and Rebecca Trehearn.
The 16 numbers range from impassioned musical theatre to straight up pop-rock songs and through the diversity, it is the British composers who shine most. Sarah Galbraith and Kit Orton duet gorgeously on ‘I Cannot Lose You’, a newly written song from Orton’s own My Land’s Shore; Joe Sterling breezes through the effortlessly perfect pop of ’Reasons’ from the self-penned Roundabout; and Ben Stott captures the bruised fragility of Ben Messenger’s ‘Here It Comes Again’, a ruefully beautiful ballad of self-reflection and resignation. Continue reading “CD Review: Words Shared With Friends”