Comedian, actor and singer Jason Manford is to host The Royal Variety Performance at the historic Blackpool Opera House in the Winter Gardens Complex. His Royal Highness The Prince of Wales will deliver a special message to the charity and the artistes performing in the show, as he looks forward to this exceptional evening of entertainment.
SIX reunite, The Theatre Channel switches on, The Shows Go On return and casting is revealed in Bath
The Reunion is the first stage+streaming concert performance by seven powerhouse vocalists who rose to fame as the original West End queens of the musical SIX: Aimie Atkinson,Alexia McIntosh,Grace Mouat,Jarneia Richard-Noel,Maiya Quansah-Breed,Millie O’Connell, and Natalie Paris. The show will be livestreamed by theatre platform Thespie but a lucky few will also be able to get tickets to see the concerts live on Saturday 10th and Sunday 11th October.
Performances will be held in Oval Space, a spacious and well-ventilated East London venue that has been entirely reimagined for safe, seated music and theatre performances. The seating plan is entirely flexible which allows seating to be customised to the audience that books. Audiences book for themselves and their household or support bubble only (to a maximum of six), and Thespie’s technology determines a seat plan that ensures safe spacing between households and optimises use of the space. Continue reading “More September theatre news”
Jesus Christ Superstar takes to the “rock’n’roll” arena. It isn’t good.
“Why waste your breath moaning at the crowd? Nothing can be done to stop the shouting.”
Amidst the deluge of theatrical content emerging online, it can be quite hard to make decisions about what to actually watch. Andrew Lloyd Webber’s release of the 2012 live arena tour of Jesus Christ Superstar stood out for me as though I did go and see it at the O2, we were seated at the back of the cavernous space and so the opportunity to actually see what happened on the actors’ faces was enough to tempt me. Plus it’s Good Friday…
Pre-dating the Open Air Theatre’s revelatory restaging by three years, Laurence Connor’s restaging of ALW’s 1971 rock opera lays its contemporary allusions thickly (Occupy, Guantánamo, reality TV) but right from the start, you can see how superficial it is. A busy prologue full of kinetic energy references the Occupy movement strongly but as soon as the show proper starts, it’s as if it never happens, you could cut it and never know the difference.
“Tell the mob who sing your song that they are fools and they are wrong”
Having gone down the road of television casting once again for one of his shows and quite possibly killing off the genre at the same time, Andrew Lloyd-Webber’s much-touted revival of his 1971 rock opera Jesus Christ Superstar will hopefully have the same effect on staging theatrical productions in cavernous arenas like London’s O2. Director Laurence Connor’s concept has been to relocate the loose retelling of Jesus’ last week to a modern-day context, pulling out strong allusions to the Occupy movement, riots, Guantánamo Bay and reality television.
Tim Minchin’s Judas is the undoubted highlight of the show, a stirringly confident rock vocal of fierce conviction that near perfectly captures the essence of what Lloyd-Webber is trying to achieve but elsewhere there is much less strength. Ben Forster’s Jesus mauls Gethsemane almost beyond recognition but fares better elsewhere where his falsetto is more aptly deployed and his angst not so overplayed; Melanie Chisholm’s goth take on Mary Magdalene is anaemically thin and utterly forgettable; Chris Moyles’ highly gimmicky Jerry Springer-esque King Herod – he hosts a show called Hark! with Herod, a rare flash of genuine humour – is thankfully brief; Alex Hanson’s Pilate is a quality performance that stands out from a hard-working ensemble, but too often the wide lens of the show means that their efforts pass by unnoticed. Continue reading “Review: Jesus Christ Superstar, O2 Arena”
With her 2010 performance as Blood Brother’s Mrs Johnstone gaining her an Olivier-award nomination and a forthcoming turn as Mary Magdalene in the arena tour of Jesus Christ Superstar, erstwhile Spice Girl Melanie C’s connection to the world of theatre is a genuine one and so the release of a CD of musical theatre songs could well be seen to be more than just paying lip service. Recorded with long-time collaborator Peter-John Vettese, Stagesis, according to the official website, “a collection of songs from the theatre that have been important to Melanie at various stages of her life”. Songs, from the theatre. Remember this.
Over a confused and unimaginative track-listing, which covers a bewildering array of songs whose connections to the theatre are often far from apparent, this seems destined to be a collection that will disappoint fans of both Melanie C and of musical theatre. What this album wants to be – and arguably should have been – is a collection of easy listening soft jazz. Chisholm is a much more effective singer when relaxed, her distinctive nasal tone appears far less frequently, and so the gentle swing through the Gershwin-penned ‘Aren’t You Kinda Glad We Did’ from The Shocking Miss Pilgrim is rather pretty, and renditions of ‘I Only Have Eyes For You’ and ‘My Funny Valentine’ are quietly efficient. Continue reading “Album Review: Melanie C – Stages”
Best New Play
Enron by Lucy Prebble – Royal Court / Noël Coward
Jerusalem by Jez Butterworth – Royal Court / Apollo
The Mountaintop by Katori Hall – Trafalgar Studio 1
Red by John Logan – Donmar Warehouse
Best New Musical
Dreamboats and Petticoats – Savoy
Priscilla, Queen of the Desert – Palace
Sister Act – London Palladium
Spring Awakening – Novello