All hail the return of Nicola Walker to the stage! Get your tickets for Camelot! Discover the Heart of Darkness! Get your exam in musical theatre singing with ABRSM!
London Musical Theatre Orchestra has announced casting for Saturday’s concert version of Camelotat the London Palladium and there’s still a few tickets going. Packed with some of musical theatre’s best songs, LMTO’s concert version with full orchestra will celebrate the centenary of Alan Jay Lerner’s birth.
The role of Arthur will be played by Olivier Award-winner David Thaxton (Passion / Les Misérables / Jesus Christ Superstar), Guenevere will be played by Savannah Stevenson (Wicked / Aspects of Love / Follies), and Lancelot will be played by internationally renowned opera star Charles Rice (Mozart’s Requiem / The Barber of Seville / Candide). Continue reading “Friday feeling – news aplenty”
“Musical comedy — the most glorious words in the English language!”
It may be in the English language but this production of42nd Street is in a French theatre, the glorious Théâtre du Châtelet in Paris which, under Jean-Luc Choplin’s artistic directorship, has arguably entirely reshaped the Parisian relationship with musical theatre. He’s brought Sondheim there for the first time in a big way (Sunday in the Park with George, Into the Woods) and has staged a number of classic Broadway musicals like An American in Paris (soon to open in London after its New York transfer) and last year’s Singin’ in the Rain.
42nd Street actually marks Choplin’s final show here, as the theatre will soon shutter for a couple of years to undergo major renovations, and Stephen Mear’s production certainly has the visual flair of a fitting finale. With a company of over 40, the tap-dancing routines are a absolute vision, a joyously heart-swelling parade of well-drilled precision, the likes of which we see so rarely these days even in the biggest shows. Combined with dazzling visual effects and gorgeous costumes courtesy of Peter McKintosh, the lavish aesthetic is an absolute treat. Continue reading “Review: 42nd Street, Théâtre du Châtelet”
“Has there ever been a moment
With so much to live for?”
Dammit – one of the key rationales behind my Broadway blowout last winter was seeing actors I didn’t think I’d otherwise have the chance to see in the West End, Glenn Close being chief among them and thus I forked out a pretty penny to see her in Edward Albee’s A Delicate Balance. So naturally her return to these shores was announced a few months later with a reprisal of her Tony Award-winning performance as Norma Desmond in Andrew Lloyd Webber’sSunset Boulevard.
And as with last year’s Sweeney Todd here at the Coliseum too, director Lonny Price and the ENO have returned to the semi-staged format which allows them to mount a bare-bones production and still charge full whack for tickets, prices thus go up to £150. I understand that money has to be made, especially for an organisation in as perilous a position as theirs and they say at least 400 tickets at every performance is available at £25 or under (altitude training not provided though…) Continue reading “Review: Sunset Boulevard, London Coliseum”
“You must admit that Elle Woods should join the chosen few”
Part of the fun of delving back into these soundtracks, so many of which I’ve had for a while, is challenging the preconceptions that I’ve allowed to build up in my mind. Sister Act the musical is the perfect example, mentally I didn’t rate it so hadn’t listened to it for an age but upon taking the time, I discovered it to be better than I remembered. That works both ways though and I’ve long rated the Legally Blonde the Musicalsoundtrack on this basis, even though it really stems from me having my favourite four tracks from it on my most listened to playlist.
So yes, ‘Omigod You Guys’ and ‘What You Want’ are two brilliant songs and I’ll fight anyone who says otherwise. Their glossy joie de vivre setting the scene perfectly for this camp-as-tits show and book-ended by the highly amusing ‘There, Right There!’ and the emotive title track which segues from its gorgeous ballad treatment into an energetic 11 o’clock number, there are some cracking musical moments in this show and with national-treasure-in-the-making Sheridan Smith at its helm as the determined Elle Woods, how could it be otherwise. Continue reading “Album Review: Legally Blonde (2010 Original London Cast)”
“The questions raised at every turn show there’s always more to learn”
This production of Stiles + Drewe’sJust So, their musical adaptation and conflation of Rudyard Kipling’s Just So Stories was a well-received one at Chichester Festival Theatre, coming almost a decade after the show was originally written. Their historically family-friendly back catalogue has served them well over the years – and is bearing significant fruit now in their Trio of Trios, and some elements of this well-cast recording are just lovely.
The heartfelt simplicity of ‘Does The Moment Ever Come?’ is perfectly suited to Richard Dempsey’s sweetly earnest Elephant Child, Julie Atherton might never have sounded better (or more wonderfully northern) on the nervously apprehensive ‘Wait A Bit’ and John Barrowman’s Eldest Magician has the charisma to make his life lessons a little more holistic than hectoring. His singing on ‘Just So’ and ‘If’ wisely warm-hearted. Continue reading “Album Review: Just So (2006 Chichester Festival Theatre Cast)”
Just a quickie for this one-off – a fundraiser for the Make A Difference Trust of this late 1980s song cycle inspired by the AIDS memorial quilt. The original London production of Elegies for Angels, Punks and Raging Queens actually transferred to the Criterion – where tonight’s show was – from the King’s Head but it’s a little difficult to see how this production with its nearly 50-strong company could ever have been scaled down to fit into that Islington pub theatre. But given how the show is made up of individual songs and monologues, each inspired by a different panel on the quilt representing the life of someone who has died from HIV/AIDS, its inherent flexibility shows how it can take whatever form is needed.
Here, Stephen Whitson’s production takes on a new 21st century version of the book by Bill Russell, the updating of which has mixed results. Contemporary references clang a little awkwardly but there’s more of a problem in that neither the fast-moving world of medical advancements nor the changing nature of the epidemic itself are really reflected – the show is already a period piece in so many ways that it perhaps would be better to leave it that way rather than trying to chase a relevance that would be better served by a completely separate part two. Continue reading “Review: Elegies for Angels, Punks and Raging Queens, Criterion Theatre”