The Really Useful Group today announce that, after a period of enforced closure, the world premiere of Andrew Lloyd Webber’s Cinderella will be on Wednesday 25 August. With music by Andrew Lloyd Webber, written by Academy Award winning Emerald Fennell (Best Original Screenplay Oscar in April 2021) and with lyrics from David Zippel, the brand new musical will resume performances at the Gillian Lynne Theatre on Wednesday 18 August. Previews initially began on Friday 25 June 2021, before another period of closure due to Covid-19 isolation protocols. Continue reading “News: World Premiere of Andrew Lloyd Webber’s Cinderella set for 25 August 2021”
By hook or by crook, Andrew Lloyd Webber was going to get Cinderella to the ball and the show is now in previews, albeit with the social distancing that he had previously promised to get himself locked up over. Now the posturing is over, the attention can turn to the show, with a new score by the lord, plus lyrics by David Zippel and a script from Killing Eve’s Oscar-winner Emerald Fennell.
Carrie Hope Fletcher is the lead but it is Victoria Hamilton-Barritt and Rebecca Trehearn for whom I’m most excited. These tasters pics from Johan Persson give an idea of how the show looks at the Gillian Lynne Theatre, revealing some amazing costume work.
The Really Useful Group has announced the full cast for the forthcoming production of Andrew Lloyd Webber’s Cinderella, featuring music by Andrew Lloyd Webber, book by Academy Award winning Emerald Fennell (Best Original Screenplay Oscar at last Sunday’s ceremony) and lyrics from David Zippel. The brand new musical will open at the Gillian Lynne Theatre on Wednesday 14 July 2021, with previews from Friday 25 June 2021.
Joining the previously announced cast will be Rebecca Trehearn, who will play The Queen, Georgina Castle and Laura Baldwin as Cinderella’s stepsisters Marie and Adele and Gloria Onitiri, who will play The Godmother. They join Carrie Hope Fletcher, as title character Cinderella in the highly anticipated new production, as well as Ivano Turco as Prince Sebastian and Victoria Hamilton-Barritt playing The Stepmother. Continue reading “News: Cinderella reveals the full cast who will be going to the ball”
City of Angels didn’t get its opening night at the Garrick Theatre but there’s still some treats out there
“Greatness can come from the sum of our parts”
City of Angels, Garrick Theatre
And if I might have snuck into a preview, I might say that it was a pretty darn slick version of the show once again, Vanessa Williams was everything.
Just look at those beauties! The Olivier-winning Donmar Warehouse production of City of Angels begins previews tonight at the Garrick Theatre.
First seen in 2014, this revival of City of Angels finds stars Rosalie Craig (Company) as Gabby/Bobbi, Hadley Fraser (Les Misérables) as Stine, and Rebecca Trehearn (Showboat) as Donna/Oolie, reprising their roles in the Larry Gelbart-Cy Coleman-David Zippel musical.
New to the production are film and TV star Theo James (Divergent) as Stone, GIrls Aloud member Nicola Roberts as Avrill/Mallory, and Tony nominee Vanessa Williams (Into the Woods), making her West End debut, as Carla/Alaura. Continue reading “News: City of Angels full cast announced”
Baz Luhrmann’s Strictly Ballroom the Musical may not be the strongest musical in the world, but it’s a stronger piece of musical theatre, thanks to Drew McOnie’s choreography
“Pam Shortt’s broken both her legs, and I wanna dance with you”
It is fascinating to be able to follow the development of a show, particularly one that has morphed as much as Strictly Ballroom the Musical. I saw it at the West Yorkshire Playhouse the winter before last, where it didn’t quite set my world on fire, so I was intrigued to hear that its arrival in the West End at the Piccadilly would be accompanied by quite the overhaul, still directed and choreographed by Drew McOnie.
The major change to this adaptation of Baz Luhrmann’s 1992 cult hit movie comes with the introduction of bandleader Wally Strand, played by Will Young, an MC figure and human jukebox who takes on the vast majority of the evening’s singing. And as we skip from Grace Jones to Billy Idol, via Bowie, Whitney and Cyndi, it’s a real pleasure to hear him sing Marius De Vries’ brilliant new arrangements. Continue reading “Review: Strictly Ballroom the Musical, Piccadilly”
“I don’t know if you are illusion”
Hoping for a ten from Len and to avoid the dreaded dis-sah-ter from Craig, Baz Luhrmann’s Strictly Ballroom arrives for its UK premiere at the West Yorkshire Playhouse. Best known in its 1992 film version, it actually began life as a play in the mid-1980s when it became big in Czechoslovakia as well as Luhrmann’s native Australia and perhaps appropriately, it is now Drew McOnie who takes the directorial chair, the choreographer-director’s rising star an ideal fit for a musical all about dance.
And what dance it is. We’re in the world of competitive ballroom dancing and we’re treated to a wide range of routines from rehearsals to all-out performances and much inventive work in-between, especially where mirrors are involved. And in all this freedom of expression, there’s a crystal-clear distillation of the story’s message in the sheer joy of dancing for fun and the power of following an individual path. But the show isn’t just dance, it’s words and music as well and there, it is less sure-footed.
The less than salubrious surroundings of the North Florida trailer park Armadillo Acres (few armadillos and even fewer acres) might seem like the ideal location for a madcap musical and in some ways, you’d be right. And The Great American Trailer Park Musical certainly lives up to the madcap and the musical in this knowingly camp production by Kirk Jameson – it’s just the ‘great’ that feels somewhat in doubt.
There’s no questioning the quality of the production and its brilliant casting decisions. Tempting the likes of illustrious veteran Rosie Ashe to the fringe is no mean feat and the powerhouse pipes of the severely under-rated Sabrina Aloueche is all the more impressive in the intimate (if poorly raked) Waterloo East Theatre. In fact, the whole company sing very well, their assured vocals matched by James Taylor’s musical direction. Continue reading “Review: The Great American Trailer Park Musical, Waterloo East”
“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’s Sunset 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”
“It’s a little bit Punjab
And a little bit UK”
It’s been just about a month since Bend it like Beckham heard the final whistle at the Savoy so I thought I’d cast a reviewer’s eye over the Original London Cast Album which was released last year. I’ve long been a fan of Howard Goodall’s work and this score was no exception, hooking me from the first time I saw to the show to the second and the third with its fusion of his own inimitable British style and the Bhangra influences drawn from Gurinder Chadha’s book, aided in authenticity by co-orchestrator Kuljit Bhamra.
Recorded live in the theatre (although there’s minimal sound from the audience until the very end), it sounds a real treat and it really does give the best of both the worlds it represents. Whether individually as in Sophie-Louise Dann’s ‘There She Goes’ or Rekha Sawhney leading the bridal party in the gorgeous Punjab lament ‘Heer’, or multiculturally as the majority of the music, it is always highly tuneful and musically interesting, highlighting styles of music that are too rarely seen in the West End. Continue reading “Album Review: Bend it like Beckham (Original London Cast Album)”