Following an online concert that took place earlier this year, Kings of Broadway will entertain live audiences this December. The musical celebration will take place at the Palace Theatre on 9th December, just a week after the upcoming England lockdown is said to end.
Over 30 performers will come together for the concert, celebrating music of Jule Styne, Jerry Herman and Stephen Sondheim. Styne wrote the music for Gypsy and Funny Girl, with Hello, Dolly! by Jerry Herman and Company by Sondheim. Continue reading “News: Kings of Broadway live concert announced”
Jule Styne, Jerry Herman & Stephen Sondheim get a worthy lockdown tribute in Kings of Broadway 2020
“Knock-knock! Is anybody there?”
There certainly was a whole lot of people there as the online concert of Kings of Broadway 2020 in support of NHS Charities Together and Acting for Others brought a large dose of classic musical theatre back into our lives. Expertly marshaled by musical director and pianist Alex Parker, the choice to spotlight Black Lives Matter through a recital of Maya Angelou’s ‘And Still I Rise’ was a good one, even if it showed the relative caucasity of the main line up. Continue reading “Review: Kings of Broadway 2020”
The works of Jule Styne, Jerry Herman and Stephen Sondheim will be celebrated in a concert to support NHS Charities Together and Acting for Others
Participating remotely in the suitably testosteroney entitled Kings of Broadway 2020 will be Liz Callaway, Michael Colbourne, Deborah Crowe, Jordan Lee Davies, Louise Dearman, Janie Dee, Fra Fee, Rob Houchen, Damian Humbley, Ramin Karimloo, Claudia Kariuki, Emma Kingston, L Morgan Lee, Rebecca Lock, Nadim Naaman, Anna O’Byrne, Fiona O’Carroll, Jamie Parker, Laura Pitt-Pulford, Clive Rowe, Jenna Russell, Lucy Schaufer, Celinde Schoenmaker, Caroline Sheen, Samantha Spiro, Laura Tebbutt, Michael Xavier and Alex Young.
Creatively, the evening will feature musical direction from Alex Parker, it will be mixed by Jack Blume, edited by Ben Hewis and will have additional mixing and editing support from Martin Higgins.
Not a bad line-up eh? You can watch the show on Quick Fantastic’s YouTube channel at 7pm on Sunday 31st May and though it is billed as free, please think about making a donation, however small you think it might be, every little helps.
“Just call me the Soviet cowboy”
Try as I might, the words ‘rock musical’ can’t help but give me a little shiver of discontent, such is my preference for piano and strings over an electric guitar. But I do try and test my preconceptions (Lizzie probably being the last time I proved myself wrong!) and so I sat down to listen to recent SimG release – Comrade Rockstar, a new musical with book & lyrics by Julian Woolford and music by Richard John.
It’s based on the properly fascinating tale of Dean Reed, an American singer known as the Soviet Elvis after he defected to the other side of the Iron Curtain at the height of the Cold War. And sure enough, it is much more musically varied than the moniker ‘rock musical’ might suggest, stretching its wings far past any connotations of solely Elvis-lite content too, to create a gently beguiling musical that you can certainly visualise on a stage somewhere near you soon. Continue reading “Album Review: Comrade Rockstar (2017 Studio Cast Recording)”
“My heart should be wildly rejoicing”
Rodgers and Hammerstein’s undeniable classic of a score, Paul Kerryson’s outgoing musical production as Artistic Director, a shining light of the British musical theatre taking on an iconic leading role – the ingredients are certainly there for something magical to appear this Christmas in Leicester. But to be perfectly honest, I couldn’t help but feel just a little disappointed by this version of The Sound of Music, whilst recognising that it is perhaps a choice in terms of failsafe festive programming.
Kerryson has been responsible for some brilliant reimaginings of West End stalwarts – most recently Chicago and Hairspray – but it is immediately apparent here that this is going to be as traditional as they come, even old-fashioned in its insistent reliance on flying cloths in Al Parkinson’s pastel-hued design. They undoubtedly have a spatial grandeur (the stained-glass reflections in the abbey in particular) but they also sap the pace of the production terribly as they’re wangled into place time and time again. Continue reading “Review: The Sound of Music, Curve”
I can’t honestly tell you what it was that attracted me by buy tickets for On The Town at the Coliseum: the chance to make my first trip to this venue, the cheap balcony seats, Leonard Bernstein’s name or maybe it was just the hot guy in a sailors uniform on the poster, but I have never been so glad to take a punt on something unknown as I was here. This is proper old-school Broadway musical entertainment at its dazzling best, perhaps unsurprising given Bernstein’s pedigree. The combination of a huge ensemble with a full orchestra means the total personnel involved is over 100 which is mightily impressive and lends an epic scale to the set pieces and Stephen Mears’ excellently choreographed routines. And it was all the more so considering I wasn’t expecting any of it!
We’re in 1944 and three sailors have just 24 hours of leave to kill in New York and they decide to use it on looking for a girl. It is a simple premise, but one given wonderful life here as the guys variously drink in the sights of the city, sample its cultural delights, chase some skirt but also keep an eye out for romance too. All fun and games but this production never loses sight of the fact that we’re smack in the middle of World War II and that the solace these men are looking for is a strictly temporary measure and so there’s a real bittersweet kick to proceedings that lends a real depth to the show. Continue reading “Review: On The Town, Coliseum”