Disney’s Olivier Award-winning stage musical Beauty and the Beast has announced the cast to star in the re-imagined and re-designed new production. Staged by members of the original award-winning creative team, Beauty and the Beast will open a UK & Ireland Tour at The Bristol Hippodrome on Wednesday 25 August 2021 (National Press Night: Wednesday 29 September).
Courtney Stapleton and Emmanuel Kojo will play the iconic lead roles, Belle and her Beast, as spectacular new designs and state-of-the-arttechnology fuse with the classic story, bringing the beloved tale to new life. Courtney’s credits include Dear Evan Hansen, Six, Les Misérables and Bat Out of Hell, and Emmanuel is best known for performing in Oklahoma!, Girl from the North Country, Show Boat and The Scottsboro
Boys. Continue reading “News: Beauty and the Beast reveals its UK tour cast”
“If I present an educated pooch
Who’s trained to dance the hoochie cooch
What better way to waste a bit of time”
We’re so used now to the big Chichester musicals making the automatic leap into the West End that it was something of a surprise to hear that last year’s Barnum would not be getting the much-rumoured transfer even with less than stellar reviews. And seeing the show for the first time tonight in its retooled version – Jean Pierre Van Der Spuy directing an adaptation of Timothy Sheader and Liam Steel’s CFT production – which is heading out on a very extensive UK tour that stretches to next August, it is not hugely difficult to see why, if one looks at it with a coolly dispassionate eye.
Mark Bramble’s book has showman PT Barnum following his dreams to put on the world’s first travelling circus but little dramatic impetus to form a more interesting narrative journey. And Cy Coleman’s score with Michael Stewart’s lyrics has some pleasant enough songs in it – ‘Come Follow The Band’ and ‘There’s A Sucker Born Every Minute’ – but it also has a lot of filler; for such an ambitious show, it is a rather bland musical experience. Fortunately it is also blessed with some game-changing visuals and Andrew Wright’s peerless (certainly for his generation) choreographic gifts. Continue reading “Review: Barnum, New Wimbledon”