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If you’re still writing your lists for Santa, then Dear Audience could be just what you’re looking for. A theatrical coffee table book filled with over 140 pages showcasing the Arts industry, with exclusive imagery, personalised letters to audiences and much more besides.
There’s a veritable who’s who of stage folk involved, from Sally Ann Triplett, Michael Xavier and Frances Rufelle to Oliver Tompsett, Linzi Hateley and Andy Coxon, and the book has been put together by Sophie Ross and Danny Kaan’s Digi Creative. Pre-orders can be made now and are guaranteed for Christmas delivery.
Auburn Jam Music are delighted to be releasing ‘You Will Be Found’ by #CheerUpCharlie & West End Friends, a fundraising charity single in aid of youth charity The Diana Award, on Sunday 15 November to tie in with the start of National Anti-Bullying Week (16-20 November).
The star-studded single is led by ten-year-old Charlie Kristensen from Wokingham, whose experience of being bullied started the viral #CheerUpCharlie campaign
BEST FEMALE PERFORMER AWARD:
BEST MALE PERFORMER AWARD:
WINNER – David Hunter, as Dr Pomatter in Waitress
Laurie Kynaston, as Nicolas in The Son
Wendell Pierce, as Willy Loman in Death of a Salesman
Jac Yarrow, as Joseph in Joseph and the Amazing Technicolor Dreamcoat Continue reading “The winners of the 9th annual Mousetrap Awards”
The nominees for the 9th annual Mousetrap Awards are announced
These awards are voted for by young people, anyone aged 15-29 is invited to have their say as to who should pick up the trophies at the ceremony on Sunday 19th April. And while usual suspects Dear Evan Hansen, Waitress and & Juliet are leading the pack, it is nice to see such love for Small Island here too.
Mousetrap Theatre Projects strive to make London’s theatre scene accessible to young people, low-income families, mainstream and SEND state schools, and those with additional needs.
Voting is open until midnight on 23rd March via this link. Continue reading “Nominees for the 9th annual Mousetrap Awards”
The highly anticipated musical Come From Away leaves me dry-eyed at the Phoenix Theatre despite a very strong cast
“There’s nothing to do, nothing to see
Thank god we stopped at the duty-free”
I didn’t check the merchandise stand at Irene Sankoff and David Hein’s Come From Away but I wouldn’t be surprised if they were seeing branded tissues, such is the weight of expectation that comes with this musical, set in the days after 9/11. But rather than New York, the show is set more than 2,000 kilometres away in the remote town of Gander, Newfoundland, where 38 planes with 6,579 passengers were grounded in the aftermath of the attacks.
There, in a Canadian town that practically doubled in population overnight, we witness the unfolding of a tragedy but more significantly, the response of a community willing and able to do anything to extend the hand of friendship. Doors are flung open, shoulders proffered, bottles opened, an unquestioned barrage of hospitality seeking to envelop traumatised passengers who had been trapped for hours on their planes (in a pre-social media age remember), only to be released to find out the terrible news. Continue reading “Review: Come From Away, Phoenix Theatre”
I’d thought I didn’t need to see Richard II again for a good while but Michelle Terry’s tenure at the Globe is most certainly testing that resolve. The forthcoming production there is to be staged by the first-ever company of women of colour in a Shakespeare play on a major UK stage. Co-directed by Adjoa Andoh and Lynette Linton, Adjoa will also play the titular role. Continue reading “Theatre news round-up”
Meaning there wasn’t much to discover anew on second viewing (my review from last year).
Still worth a shot if you’ve not seen it though.
All photos © Johan Persson
“Why don’t you get out of my life and let me make a new start?”
Cast and crew members across the West End may not agree but I do find it surprising that more shows haven’t gone for the variation of Sunday evening performances in their schedules. Particularly with tourists, it’s a ready-made and captive audience with little else to do in this bustling city and by the looks of the Palace Theatre last night, keen as mustard. That said, it can be something of a trial going out on a Sunday night when a work-filled Monday morning is looming around the corner.
For me though, the chance to see The Commitments one more time before it closes its doors after a run that has lasted more than two years was enough to tempt me out and I’m glad I did as it really is good fun. Technically speaking, it is less of a musical than I would strictly consider, the narrative quickly gives way to a mini-concert at the show’s end but with music as good as this, and an actor-musician cast as talented as this, such crowd-pleasing antics feel entirely forgivable. Continue reading “Re-review: The Commitments, Palace Theatre”
“The Irish are the blacks of Europe”
In the ongoing search for the perfect recipe for a West End musical, The Commitments has done better than most since opening last October. Here, a hot-shot director (Jamie Lloyd) has been mixed with material that has already been a book and a film (written by Roddy Doyle, directed by Alan Parker) and tinkers with the jukebox format (using iconic US soul classics) to create an engaging piece of entertainment. The main surprise comes with how little story there actually is – the premise is simply that young gun Jimmy Rabbitte decides to put a band together and that is pretty much it.
So in place of narrative twists and turns, we get the slick movement of Soutra Gilmour’s ingeniously inventive set design; instead of depth of character, there’s a wide-ranging songbook which gives everyone a turn on the mike or a chance to rock out a solo and thus express themselves through music. It’s a curious interpretation which takes a little time to really gel, the opening 20 minutes or so struggles to make its mark as there’s little music and the surprising thinness of Doyle’s writing is at its most exposed – for all the time Jimmy spends in his house, his ma gets an appallingly small amount to say. Continue reading “Review: The Commitments, Palace Theatre”