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”
Elton John gets in on the self-produced musical biopic game, meaning Rocketman is gonna take a long long time to get anywhere near the truth
“People don’t pay to see Reginald Dwight…
they pay to see *Elton John*!”
I always find there being something a little suspect about the subject of a biopic being intimately involved behind the scenes, that sense that you’re only being permitted to see a carefully curated version of this particular story (cf Tina the Musical, On Your Feet onstage; Bohemian Rhapsody most recently on film). And Rocketman ultimately proves no exception, with Elton John executive producing and husband David Furnish getting a producer credit, and Wikipedia thus offering up a substantial list of deviations from what actually happened.
You might argue that as the film, written by Lee Hall and directed by Dexter Fletcher, isn’t a documentary, it doesn’t need to concern itself with an absolute fidelity to historical record. But I just find it fascinating this need to embellish, so much being smuggled under the umbrella of ‘creative license’ that can’t always be explained away with the ‘needs’ of filmmaking. Things as fundamental as changing the inspiration for Reg Dwight’s stage name from his mentor Long John Baldry to John Lennon, or claiming that ‘Daniel’ and ‘I Guess That’s Why They Call It the Blues’ were the songs he auditioned for with Dick James when neither had been written yet. At what point does that creative license start being straight-up dishonesty? Continue reading “Film Review: Rocketman (2019)”
Baz Luhrmann’s Strictly Ballroom the Musical may not be the strongest musical in the world, but it’s a stronger piece of musical theatre, thanks to Drew McOnie’s choreography
“Pam Shortt’s broken both her legs, and I wanna dance with you”
It is fascinating to be able to follow the development of a show, particularly one that has morphed as much as Strictly Ballroom the Musical. I saw it at the West Yorkshire Playhouse the winter before last, where it didn’t quite set my world on fire, so I was intrigued to hear that its arrival in the West End at the Piccadilly would be accompanied by quite the overhaul, still directed and choreographed by Drew McOnie.
The major change to this adaptation of Baz Luhrmann’s 1992 cult hit movie comes with the introduction of bandleader Wally Strand, played by Will Young, an MC figure and human jukebox who takes on the vast majority of the evening’s singing. And as we skip from Grace Jones to Billy Idol, via Bowie, Whitney and Cyndi, it’s a real pleasure to hear him sing Marius De Vries’ brilliant new arrangements. Continue reading “Review: Strictly Ballroom the Musical, Piccadilly”
“I don’t know if you are illusion”
Hoping for a ten from Len and to avoid the dreaded dis-sah-ter from Craig, Baz Luhrmann’s Strictly Ballroom arrives for its UK premiere at the West Yorkshire Playhouse. Best known in its 1992 film version, it actually began life as a play in the mid-1980s when it became big in Czechoslovakia as well as Luhrmann’s native Australia and perhaps appropriately, it is now Drew McOnie who takes the directorial chair, the choreographer-director’s rising star an ideal fit for a musical all about dance.
And what dance it is. We’re in the world of competitive ballroom dancing and we’re treated to a wide range of routines from rehearsals to all-out performances and much inventive work in-between, especially where mirrors are involved. And in all this freedom of expression, there’s a crystal-clear distillation of the story’s message in the sheer joy of dancing for fun and the power of following an individual path. But the show isn’t just dance, it’s words and music as well and there, it is less sure-footed.
Continue reading “Review: Strictly Ballroom, West Yorkshire Playhouse”
“I’ll do my dance, I’ll make them drink”
I’m pretty there’s a clause in the gay contract that means it is illegal to turn down the offer of drinks in the Julie Andrews Room so who was I to resist when the folks at TodayTix invited me to try out their mobile ticketing app by coming along to see Miss Saigon. Founders Merritt Baer and Brian Fenty have had big success on Broadway with their service, offering tickets for a range of shows one week to one hour before showtime and boasting of enabling tickets to be purchased in 30 seconds or less.
And I have to say that they’ve pretty much nailed it. The interface of the app is bright and easy to use (certainly it was on my iPhone6), there’s a wide range of West End shows available and the process of choosing and booking tickets at all price levels is simple and speedy with a little seatmap showing you where in the theatre your selected seats are. It really does streamline the ticket-buying process so that making any last minute decisions to see a show that much easier. Continue reading “Review: Miss Saigon, Prince Edward Theatre with TodayTix”