2020 Laurence Olivier Awards nominations

Award season kicks into another gear with the arrival of the nominations for the 2020 Olivier Awards – & Juliet, Fiddler on the Roof and Dear Evan Hansen lead the musicals pack, Death of a Salesman and Rosmersholm the plays

As ever, Laurence giveth and he taketh away and it’s all subjective anyway.

  • I’m really pleased to see the love for Amélie The Musical and The Ocean At The End Of The Lane but a little incredulous that Fairview received no nominations.
  • The weird category shuffle that often happens has landed on ‘Best Entertainment or Comedy Play’ and ‘Best Family Show’ this year, leaving Emilia and Fleabag in a weird place that isn’t ‘Best New Play’ (last year they were divided into ‘Best Entertainment and Family’ and ‘Best New Comedy’.
  • I had zero desire to see Fiddler on the Roof so can’t pass comment there but can’t help wishing the supporting role in a musical nominations weren’t quite so dominated by DEH.
  • & Juliet’s director Luke Sheppard could rightfully feel snubbed, given the wealth of recognition the rest of the production has received.
  • And whither Monica Dolan, Lucian Msamati, Melanie La Barrie, the cast of Three Sisters…(oh wait, they won the more significant award earlier in the year!)

Continue reading “2020 Laurence Olivier Awards nominations”

The 2019 fosterIAN award winners

Best Actress in a Play
Sarah Niles/Natalie Simpson/Racheal Ofori, Three Sisters

Best Actress in a Musical
Audrey Brisson, Amélie the Musical

Best Actor in a Play
Lucian Msamati, ‘Master Harold’…and the boys

Best Actor in a Musical
Jamie Muscato, West Side Story (Curve Leicester)

Best Supporting Actress in a Play
Monica Dolan, All About Eve

Best Supporting Actress in a Musical
Cassidy Janson/Melanie La Barrie, & Juliet 

Best Supporting Actor in a Play
Nick Holder, Faith Hope and Charity

Best Supporting Actor in a Musical
David Bedella, & Juliet

And my top 10 plays of the year:
1. The Curious Case of Benjamin Button, Southwark Playhouse
2. Call Me Fury, Hope Theatre
3. West Side Story, Curve Leicester
4. As You Like It, Queen’s Theatre Hornchurch
5. Islander, Southwark Playhouse
6. Amélie the Musical, Watermill Theatre/UK Tour/The Other Palace
7. & Juliet, Shaftesbury Theatre
8. Sexy Lamp, VAULT
9. Karaoke Play, Bunker Theatre
10. The Ocean at the End of the Lane, National Theatre

My 10 favourite shows of 2019

I barely saw 250 shows this year, quiet by my standards! And as is the way of these things, here’s a rundown of some of the productions that moved me most…

1. The Curious Case of Benjamin Button, Southwark Playhouse
I haven’t lost it in a theatre as much as this in a good long while. I cry at all sorts but this superlative musical had me trying, and failing, to choke back huge, hacking sobs. And I can still sing some of the songs – it has to come back, surely. “It’s all just a matter of time…”

2. Call Me Fury, Hope Theatre
“This is the history we should be teaching, these are the stories we should be sharing”, this striking and soulful piece gave voice to so many whom history have ignored, and was bloody entertaining with it. 

3. West Side Story, Curve Leicester
A musical I love, in a production that I simply adored. Getting to see two WSSs in one year was a privilege and for me, it was the emotional heart of Nikolai Foster’s production that won out.

4. As You Like It, Queen’s Theatre Hornchurch
The second year of the Public Acts programme comes up trumps once again with this gorgeous musical version of the Shakespeare classic, community theatre at its finest.

5. Islander, Southwark Playhouse
The magic of musical theatre distilled into two voices and a loop pedal – a marvellously inventive and endlessly moving. 

6. Amélie the Musical, Watermill Theatre/UK Tour/The Other Palace
As sweet-sharp as a diabolo grenadine, something truly gorgeous emerges from this film adaptation that simply demands you come up with better words than quirky to describe it.

7. & Juliet, Shaftesbury Theatre
Tell me why… About as much fun as you can have in the West End right now, this is a particularly fine example of the jukebox model and I want it that way.

8. Sexy Lamp, VAULT
A standout piece in a standout festival, Katie Arnstein’s brutally honest monologue about navigating the patriarchy may be lightened with songs and sweets but is no less effective for it.

9. Karaoke Play, Bunker Theatre
Deeply confessional and subtly magical, Annie Jenkins’ inter-connected monologues combined to become so much more than the sum of their parts.

10. The Ocean at the End of the Lane, National Theatre
A magical family tale, perfect for kids of all ages. Not even reading the exit poll as I left could ruin the feeling! 

Shows 11-25 under the cut

Continue reading “My 10 favourite shows of 2019”

Review: Amélie the Musical, The Other Palace

Not too much more to say about Amélie the Musical, now in London at The Other Palace, other than book now for un moment merveilleux 

“Will there be time to keep on dreaming once this dream is over?”

In what has felt like an inordinately long year, Amélie the Musical captured my heart a long time ago. It was April to be precise, when this beautiful actor-musician show debuted in the gorgeous intimacy of the Watermill and then as it set off on a UK tour, I couldn’t help but go back a month later for second helpings, which I enjoyed just as much. So could I resist a third trip after a London residency was booked in at The Other Palace? What do you think…?!

First off, it feels great to finally see The Other Palace fulfilling the actual need that exists in London theatre but one which is rarely met, in providing a mid-size home for touring musicals, allowing them to establish a foothold here without the pressures of filling a West End house just yet. It helps that Michael Fentiman’s production of Amélie the Musical was originally conceived en bijou but this just feels like the right home for it, right now. Continue reading “Review: Amélie the Musical, The Other Palace”

Review: Amélie the Musical, New Wimbledon Theatre

As sweet-sharp as a diabolo grenadine, the touring version of Amélie the Musical impresses me at the New Wimbledon Theatre

“Will there troubles?
I don’t know
Will there be sweet things?
I hope so”

As sweet-sharp as a diabolo grenadine, Amélie the Musical has lost none of its inimitable charm as it gears up for a considerable UK tour. I adored it at the Watermill but the intimacy there left me wondering how the show would fare in the significantly larger houses to which it will be touring. Turns out I need not have worried.

Michael Fentiman’s production has expanded perfectly to fill the space. A few more ensemble members here, a tweak to Madeleine Girling’s canny set design there, and the show has lost nothing of itself or its kooky Parisian whirl. If anything the actor-muso ensemble’s reinterpretation of Daniel Messé’s score sounds even better than before under George Francis’ musical direction. Continue reading “Review: Amélie the Musical, New Wimbledon Theatre”

Review: Amélie the Musical, Watermill Theatre

A sensational adaptation of the film, Amélie the Musical completely captures my heart – see it now at the Watermill Theatre and then touring across the UK

“Maybe she’s just different”

In a week marked by the heartbreaking sight of Notre Dame aflame, the decidedly Gallic charms of Amélie the Musical arrive to offer a soothing balm. The show – music by Daniel Messé, lyrics by Messé and Nathan Tysen and a book by Craig Lucas – didn’t fare so well on Broadway in 2017 but the creatives, along with director Michael Fentiman, have substantially reworked the material to great effect.

The result is something which cleaves much closer to Jean-Pierre Jeunet’s original film Le Fabuleux Destin d’Amélie Poulain in every inch of its spirit. From singing goldfish to licking stage blood off fingers, Elton John cameos to intimidating figs, there’s a wonderful weirdness to the world created here. It’s no wonder that the introverted Amélie struggles at first to find her place in this hyper-real version of Paris. Continue reading “Review: Amélie the Musical, Watermill Theatre”

Album Review: Amélie (2017 Original Broadway Cast Recording)

“I am not afraid 
 As everything I’ll ever need appears 
his is how my world gets made”

A musical adaptation of Jean-Pierre Jeunet’s 2001 film and led by a red-hot Phillipa Soo coming off her enormous success of Hamilton, Amélie felt like a safe bet for at least a half-decent run on the Great White Way. But underwhelming reviews crippled it and striking out on Tony nominations delivered the killer blow, meaning it closed at the Walter Kerr Theatre before even making it to its third month.

Fortunately, we were blessed with an Original Broadway Cast Recording, so those of us unable to see it can experience some of its pleasures. And it is undeniably pleasant, as befits so gently lovely a story as this. With music by Daniel Messé, lyrics by Messé and Nathan Tysen and a book by Craig Lucas, there’s little to take offence at, and you suspect that that is part of the problem. The gentleness that is such an integral part of the show and the score just ends up tending towards the bland in this volume. Continue reading “Album Review: Amélie (2017 Original Broadway Cast Recording)”

Review: The Burnt Part Boys, Park

“I watch women every Sunday tend a row of empty graves
Wives of men whose bodies never left company caves”

Another quickie as I continue to catch up with the openings I missed whilst on holiday. Receiving its European premiere here at the Park, The Burnt Part Boys continues the surprising number of musicals about mining (Floyd Collins alone would have scratched the itch, never mind Billy Elliot) and true to form, is musically really quite interesting. Chris Miller’s score folds in bluegrass and folk influences as befits its West Virginia setting and is certainly the strongest part of the show.

Mariana Elder’s book follows the impact of a tragic mining disaster on the hillside community of Pickaway – several men were killed and their bodies trapped underground but ten years later, news breaks that the mine is to be reopened, causing varied responses from the sons who lost their fathers. And particularly from brothers Pete and Jake, the former stealing some dynamite from his older sibling – now a miner himself – to force his own solution. Continue reading “Review: The Burnt Part Boys, Park”

Not-really-a-CD Review: Tuck Everlasting (2016 Original Broadway Cast)

“A man who is fondest of suits that are jaundiced”

Chris Miller and Nathan Tysen’s musical The Burnt Part Boys is coming over to the Park Theatre later this year but their latest venture Tuck Everlasting was one of the Spring’s biggest crash and burn stories on Broadway, scarcely making two months. Based on a 1975 US children’s novel by Natalie Babbitt, it’s a horrendously twee vat of corn syrup that I have to admit I struggled to listen the minimum two times that I give cast recordings. And to be honest, I can’t think of anything constructive to say about it so I’m going to leave it there!