Put A Pin In It Productions (a new Brighton based production company with a big heart and big ambition) brings a not-to-be-missed show to The Old Market in Hove this autumn. Voices of Today and Tomorrow is a musical show tunes event with a difference – partnering established West End stars with talented newcomers who are already making waves on the fringe of the industry and are sure-fire stars of tomorrow!
Jodie Steele, Luke Bayer, Maiya Quansah-Breed, Joanne Harper and Alexandra Doar plus Brighton-born Alex James Ellison, creator of the hit musical, FIVER, are set to appear live in concert alongside some of the UK’s most promising up-and-coming talent in the musical theatre industry, including Frankie Davison, Eleanor Lakin, Daniel Walford, Katie Ramshaw and Amie Shouler. Continue reading “Some early October musical news”
Taking us so far behind the scenes you can smell the greasepaint, Giles Terera’s Hamilton and Me: An Actor’s Journal is a brilliant new book
“My intention is…to try and show you the how”
I’m not saying I made Giles Terera’s career but I named him Best Actor in a Musical in 2015 for his spell-binding turn in Pure Imagination 🙂 Regardless of that though, there’s no doubting that dude was catapulted into the limelight by Hamilton, adding an Olivier to his fosterIAN award, and deservedly cementing his place in the British theatrical establishment. Throughout his time with the show, he kept a journal which has now been published as Hamilton and Me: An Actor’s Journal.
The relative informality of the journal structure works perfectly in cultivating an immediate sense of intimacy as we slip from audition process to rehearsal rooms to the Victoria Palace Theatre itself. But don’t mistake these for casual observations, the book is jam-packed full of hard-won insights and all kinds of practical advice which works whether you’re a budding thespian or just a bastard, orphan, son of a… Continue reading “Book Review: Hamilton and Me: An Actor’s Journal – Giles Terera”
Best Feel Good Show
Show You Came Out Dancing To
Five Guys Named Moe
Best Female Performer
Rachel John for Hamilton
Most Heart Stopping Show
Soundtrack of My Soul
Best Male Performer
Layton Williams for Rent
Aesthetic On Point
The Grinning Man
Performer Who Saved The Day
Adam Bayjou for Les Mis
Couldn’t Wait For It To Open
Five Guys Named Moe
The Old Vic
“The plan is to fan this spark into a flame”
It’s not been a hot minute since I last saw Hamilton so just take a look at my original review for the deets.
Running time: 2 hours 35 minutes (with interval)
Booking note – keep your eyes open for returns, of which there have been quite a few. And check your browsers, the Ticketmaster site is most temperamental with the likes of Opera, Firefox and Chrome in my experience, Microsoft’s Edge has been most reliable for me
It’s here! Hamilton finally arrives in the West End and lights up the newly refurbished Victoria Palace Theatre for the ages
“A bunch of revolutionary manumission abolitionists,
Give me a position, show me where the ammunition is”
Change doesn’t just happen, it has to be ushered in by visionaries determined to shake up the status quo to allow the rest of us to shuffle in in their wake. This is true of many things but particularly when it comes to diversity in our theatres, which makes it pleasing that this first production of Hamilton outside of the US has maintained its commitment to multiracial casting in its depiction of the travails of ill-fated Founding Father Alexander Hamilton.
Sure, shows such as Motown the Musical and Dreamgirls offer much-welcomed opportunities for performers of colour. But its the vision of the likes of Michael Buffong and Talawa casting an all-black Guys and Dolls and Hamilton writer Lin-Manuel Miranda and director Thomas Kail making this decision that allows those performers to get the kind of credits on their CV that would otherwise never be gained. Continue reading “Review: Hamilton, Victoria Palace”
“Tale as old as time”
It’s taken me a little time to get round to writing this review, which is rarely a good sign, as I was struggling for anything entirely constructive to say about this film. The 1991 animated Beauty and the Beast was Disney close to its best but these days, nothing is left alone if it has even the merest hint of cash cow about it. So it has previously hit the stage as a musical and following the success of Kenneth Branagh’s Cinderella, it now has a cinematic live-action remake.
Which is all fine and good but just because you can do something doesn’t mean you should. And at no point does Bill Condon’s film ever convince us that the world needed this version of Beauty and the Beast, there’s rarely any sense of it bringing something new and insightful to the story. Plus the contortions it (and star Emma Watson) has had to make to try and convince of its feminist credentials scarcely seem worth it in the final analysis. Continue reading “Film Review: Beauty and the Beast (2017)”