Award season kicks into another gear with the arrival of the nominations for the 2020 Olivier Awards – & Juliet, Fiddler on the Roof and Dear Evan Hansen lead the musicals pack, Death of a Salesman and Rosmersholm the plays
As ever, Laurence giveth and he taketh away and it’s all subjective anyway.
- I’m really pleased to see the love for Amélie The Musical and The Ocean At The End Of The Lane but a little incredulous that Fairview received no nominations.
- The weird category shuffle that often happens has landed on ‘Best Entertainment or Comedy Play’ and ‘Best Family Show’ this year, leaving Emilia and Fleabag in a weird place that isn’t ‘Best New Play’ (last year they were divided into ‘Best Entertainment and Family’ and ‘Best New Comedy’.
- I had zero desire to see Fiddler on the Roof so can’t pass comment there but can’t help wishing the supporting role in a musical nominations weren’t quite so dominated by DEH.
- & Juliet’s director Luke Sheppard could rightfully feel snubbed, given the wealth of recognition the rest of the production has received.
- And whither Monica Dolan, Lucian Msamati, Melanie La Barrie, the cast of Three Sisters…(oh wait, they won the more significant award earlier in the year!)
The theatrical magic of the excellent The Ocean at the End of the Lane finds a perfect home at the National Theatre
“A rip in forever where possibilities begin”
Based on the novel by Neil Gaiman and adapted by Joel Horwood, The Ocean at the End of the Lane is pretty much perfection at the National Theatre. Katy Rudd’s production is a triumph of creative endeavour, as she melds her various elements into a couple of hours of real theatrical magic. Key is Steven Hoggett’s inimitable movement, creating a wonderful sense of fluidity throughout, but particularly in the scene changes. The seamless ensemble work that results plays a huge part of the thoroughly enchanting world-building going on here.
That world is the England of fairytales, Sussex farmland where the fabric of the universe is thin. There, a boy meets a girl and in their japes, a monster breaks through from another world, so far so fantasy. But even the simple act of whipping props on and off stage becomes something more profound (the cooker moving just out of Dad’s reach…), manipulating fearsome puppets (designed by Samuel Wyer and directed by Finn Caldwell) makes something of an artistic statement, or just lying on the ground to embody some creature or other finds a similarly strange beauty. Continue reading “Review: The Ocean at the End of the Lane, National Theatre”
So much goodness! The National Theatre have just announced details of productions stretching deep into 2020, and with writers like Lucy Kirkwood, Kate Tempest, Roy Williams and Tony Kushner, and actors like Lesley Manville, Maxine Peake, Conleth Hill, Cecilia Noble and Lesley Sharp, it is hard not to feel excited about what’s ahead.
Following a sell-out run at Rose Theatre Kingston, the acclaimed two-part adaptation of Elena Ferrante’s MY BRILLIANT FRIEND by April De Angelis is reworked for the Olivier stage by Melly Still (Coram Boy). When the most important person in her life goes missing without a trace, Lenu Greco, now a celebrated author, begins to recall a relationship of more than 60 years. Continue reading “News: the National Theatre announces 15 new productions for 2019 and 2020”
BEST MALE PERFORMER AWARD:
Jonny Labey, as Scott in Strictly Ballroom
John Pfumojena, as Okot in The Jungle
Kyle Soller, as Eric Glass in The Inheritance
John McCrea, as Jamie in Everybody’s Talking About Jamie Continue reading “Nominees for the 8th annual Mousetrap Awards”
Best UK Cast Recording
Broken Wings – Original Concept Album
Calendar Girls – Original London Recording
Everybody’s Talking About Jamie – Original West End Cast Recording
Six The Musical – Studio Cast Recording
Working: A Musical – Original London Cast Recording
Young Frankenstein – Original London Cast Recording
Best American Cast Recording
Frozen – Original Broadway Cast Recording
Mean Girls – Original Broadway Cast Recording
My Fair Lady – 2018 Broadway Cast Recording
Once On This Island – New Broadway Cast Recording
Pretty Woman – Original Broadway Cast Recording
The Prom – Original Broadway Cast Recording
Best Solo Album
Audra McDonald – Sing Happy
Carrie Hope Fletcher – When The Curtain Falls
David Hunter – Silver Linings
Louise Dearman – For You, For Me
Natasha Barnes – Real
Sutton Foster – Take Me To The World
Casting my eye over some recent musical theatre album releases: Audra McDonald’s live album Sing Happy, Louise Dearman’s latest collection For You, For Me and the long-awaited cast recording for Everybody’s Talking About Jamie
There are few things as well-designed as Audra McDonald’s thrilling soprano to make you happy, so the title of her new album Sing Happy is apt indeed. Her first live album and her first backed by an orchestra (the New York Philharmonic). the gig was recorded just a few days ago on 1st May and no wonder they were so quick to turn it around.
Whether shimmering through Porgy and Bess‘ timeless ‘Summertime’, proudly getting her life in La Cage aux Folles’ ‘I Am What I Am’ or absolutely nailing She Loves Me’s ‘Vanilla Ice Cream’, McDonald’s velvety textured voice is always so exciting to listen to. And the drama of songs like ‘Never Will I Marry’ sound glorious with the richness of the orchestral backing (conducted by Andy Einhorn).
An affinity for Sondheim comes into play twice, a medley of ‘Children Will Listen’ with South Pacific’s ‘You’ve Got To Be Carefully Taught’ and in a showstopping take on ‘Being Alive’, still manages to surprise with the heights to which she lifts the song. An unalloyed, absolute pleasure. Continue reading “Album Reviews: Audra McDonald – Sing Happy / Louise Dearman – For You, For Me / Everybody’s Talking About Jamie cast recording”
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.
So Andrew Lloyd Webber’s decision to release new anthology Unmasked is a canny one in that respect (read my review here), tapping into the desire to have a nicely pleasant set of musical theatre tunes to pop on in the car. And as with any compilation, it’s as much about what hasn’t been included as what has, that stands out. Continue reading “How to solve a problem like a compilation – my alternative Unmasked”
Andrew Lloyd Webber marks his 70th birthday with a new musical anthology – Unmasked: The Platinum Collection – taking in shows new and old with some surprises along the way (Beyoncé, Lana del Rey, Duncan from Blue )
“Oh what a circus, oh what a show”
Upon reaching 70 this year, Andrew Lloyd Webber is clearly in a reflective mood and hot on the heels of his autobiography Unmasked released last week, comes this new compilation album Unmasked: The Platinum Collection. Available physically as a 2CD or 4CD version (the latter with a 40 page book of liner notes and tributes), this collection looks back on a career spanning nearly 50 years and features some new twists on the material as well as reminding us of the old favourites.
Over the four discs, 17 of Lloyd Webber’s shows are represented here (Jesus Christ Superstar tops the list with 8 tracks, Evita and Phantom just behind), alongside assorted one-off songs (such as ‘Amigos Para Siempre’ from the 1992 Barcelona Olympics, the Gary Barlow co-write ‘Sing’ from the Queen’s Diamond Jubilee). But for ALW fans it will be the unreleased stuff that makes the mouth water – five new orchestral suites and a smattering of new recordings featuring the likes of Lana del Rey (a winsome ‘You Must Love Me’ and Gregory Porter (a spirited ‘Light At The End Of The Tunnel’. Continue reading “Album Review: Andrew Lloyd Webber Unmasked: The Platinum Collection”
An interesting set of nominations have been announced for the 2018 Laurence Olivier Awards. Perhaps predictably, the headline grabbers are Hamilton with their record 13 nominations, and The Ferryman which received 8. I’m pleased to see Follies and Angels in America represent a strong showing for the National with 10 and 6 respectively, and also lovely to see Everybody’s Talking About Jamie close behind with 5. Beyond delighted for The Revlon Girl too, my play of the year.
Naturally, not everything can get nominated and for me, it was most disappointing to see Barber Shop Chronicles miss out on any recognition. And with Hamilton crowding out the musicals categories, there was sadly no room for The Grinning Man, Romantics Anonymous and The Secret Diary of Adrian Mole (although I’m unsure of the Menier’s eligibility with regards to SOLT). And I think Victoria Hamilton (Albion). Philip Quast (Follies) and Louis Maskell and Julian Bleach (The Grinning Man) are entitled to be a bit miffed.
How do you feel about these nominations? And what do you think should have been nominated instead?