Irvine Iqbal has launched a new project called Same Voices Unite, which aims to raise awareness of the impact of Covid-19 in India and to get the message through, he has helmed a star-filled video featuring West End performers as part of its main campaign.
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”
Fresh faces do much to highlight the energy of Spring Awakening at Manchester’s Hope Mill Theatre
“You ain’t seen nothing yet – gonna teach you right”
In many ways, the teenage energy of Duncan Sheik and Steven Sater’s Spring Awakening is a great match for the youthful verve of Manchester’s Hope Mill Theatre. The creative upstarts of this fringe powerhouse are maintaining its burgeoning reputation extremely well and with this raucous take on Frank Wedekind’s 1891 play, look set to continue.
Luke Sheppard’s production hangs on its superb casting, drawing talent fresh from drama school (Darragh Cowley and Teleri Hughes) as well as a couple of more experienced hands (Ragtime’s Seyi Omooba) And the company fill the stage with a rough-edged vitality that marks out lots of potential for musicals to come. Continue reading “Review: Spring Awakening, Hope Mill”
What was the last lie you told? How much was at stake and did you even think of the consequences? Such are the questions being raised at Briarwood Hall in Sir Charles Worrall’s talk on the study of lies and lying to which we’re all invited. And to illustrate his thesis and to break up the Greek philosophy, he’s employed his staff to act out musical scenes of a notable scandal of the 1820s in which his family was involved. So begins Phil Willmott and Mark Collins’ new musical Princess Carabooin an amusing and inventive manner, which entertains right until the last porky pie has been told.
Based on real events, the Princess Caraboo was a woman who claimed to have been shipwrecked on the English shore and taken in by some well-meaning sorts in the Worralls, was able to inveigle her way into the heights of Regency society. But by highlighting this deception from the start, Willmott’s book is more concerned with the way in which such lies take hold and are promulgated by societal convention and the need to maintain a facade of propriety. It adds up to an effective and affecting piece of storytelling and reaffirms the Finborough’s commitment to supporting British musical theatre. Continue reading “Review: Princess Caraboo, Finborough Theatre”