West End stars and Broken Wings alumni collaborate with members of the Lebanese Philharmonic Orchestra to raise money for the Red Cross’ Beirut Emergency Appeal
Following the devastating explosion in Beirut on August 4th 2020, over 40 artists have collaborated between London and Beirut to film a music video of ‘All I Longed To See’, from new musical Broken Wings by Nadim Naaman and Dana Al Fardan, with orchestrations by Joe Davison.
The video has been produced in aid of The Beirut Emergency Appeal, a collaborative fund established between both The British and Lebanese Red Cross. As a result of the explosion, at least 181 people have lost their lives, over 6,000 people have been wounded, and 300,000 are now homeless. These numbers are likely to continue to rise. Continue reading “News: The West End & Beirut collaborate for The Beirut Emergency Appeal”
Written by Nadim Naaman and Dana Al Fardan, the concept album of new musical Broken Wings marks an ambitious debut and an impressive arrival
“I remember the beauty of home”
Would you be able to name the third best-selling poet of all time? Behind Shakespeare and Laozi, it is actually the Lebanese writer Kahlil Gibran. So adapting his work for the stage is perhaps something of a natural step, and an under-explored one given the Anglo-Saxon bias of the Western canon. And it feels only right that it should fall to a Lebanese man and a Qatari woman to compose a musical based on one of his most famous works.
The result is Broken Wings. A new musical which has not only released a concept album, but will play the Theatre Royal Haymarket for four nights in early August, marking the first Arabic-inspired musical to grace the West End. But is it any good? I have to say I have fallen hard for its charms, as it reveals itself to be a supremely confident piece of writing, and one which balances the melting pot of its influences with an almost classic approach. Continue reading “Album Review: Broken Wings”
“Wreck your room and rip your jeans.
Show ‘em what rebellion means”
The 2003 Jack Black-starring film School of Rock was a big success, trading off its stock talent show plot device with genuine rock music credentials in a soundtrack full of the likes of AC/DC, Led Zeppelin and The Doors. So it was a little bit of a surprise to find that Andrew Lloyd-Webber decided to adapt it into an original musical – his version of rock is certainly not the same as that espoused by Dewey Finn, School of (Pop-)Rock perhaps.
But one sticky moment aside (where a snippet of Stevie Nicks’ Edge of Seventeen sits awkwardly alongside a rock ballad ‘Where Did the Rock Go?’ exposing the contrast between the two kinds of rock), this School of Rock is a cheerily appealing slice of musical theatre. And with a seemingly endless role call of talented youngsters who, as we’re reminded at the beginning and the end of the show, play all their own instruments live, shows off a wealth of emerging British musical theatre talent. Continue reading “Review: School of Rock, New London”
“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”
“How it will astound you…”
Alongside the rightly lauded all-male Gilbert and Sullivans, the Union Theatre in Southwark has also carved a niche for itself in mounting productions of lesser-known musicals, delving into the archives much as the Finborough does with British plays, in search of a gem of a discovery, ripe for re-polishing. It’s a brave approach, not least because there is an argument that shows that collect dust on the shelves do so for a reason which in turn means that no matter how strong the production, it’s never quite starting on a full tank.
Which seems a little harsh now I’ve said it, but ultimately reflects much of how I feel about the Union’s output of late. Their productions are great value for money, demonstrate a hard-won understanding of how to use the intimate space of their railway arch, and attract a remarkable calibre of performer. But the shows haven’t made my heart sing, filled me with the inescapable joie de vivre that I crave when I see old-school musical theatre and that’s how I felt about On A Clear Day You Can See Forever. Continue reading “Review: On A Clear Day You Can See Forever, Union Theatre”