Dana Al Fardan, one of the Middle East’s leading contemporary composers, and West End star Nadim Naaman today announce that their second major stage musical, Rumi: The Musical will get its world premiere as a semi-staged concert at the London Coliseum on November 23rd & 24th 2021.
Rumi, based on a story about the 13th century philosopher and poet Rumi by Evren Sharma, follows Al Fardan and Naaman’s 2018 debut Broken Wings, which premiered in the West End at the Theatre Royal Haymarket before touring the Middle East.
Led by Ramin Karimloo (as Shams Tabrizi) and Nadim Naaman (Rumi), Casey Al-Shaqsy (Kimya), Soophia Foroughi (Kara), the London Coliseum cast will comprise entirely of performers of Middle Eastern, North African and South Asian heritage, and will also feature a 25+ piece orchestra, conducted by Joe Davison.
An all-star cast has come together for a very special virtual reading of the new best-selling illustrated book Broadway Baby. The book has been written by West End and Broadway producer Russell Miller with Judith A. Proffer and was originally released in October 2020.
The online event has brought together a plethora of stars of stage and screen including Catherine Tate, Matt Henry MBE, Sharon D Clarke MBE, Kerry Ellis, Adam Cooper, Simon-Anthony Rhoden, Jo Servi, Claire Sweeney, Madalena Alberto, Norman Bowman and Suzanne Shaw. Continue reading “Broadway Baby book receives all-star reading”
A trio of charity singles supporting some great causes over Christmas
Martin Dickinson is releasing a cover of ‘You Raise Me Up’ as a charity single for Shooting Star Children’s Hospice. The track is released on Friday 11th December and features an introduction from the marvellous Brenda Edwards and a choir featuring Kimberley Ensor, Charlotte O’Rourke, Louise Young, Jordan Lee Davies andDanny Whitehead.
Two versions of the single will be available – a full version/radio edit and a music video will arrive on streaming platforms including iTunes, Amazon and Spotify. Continue reading “Charity singles galore”
Series 1 of Philippa Gregory’s The Spanish Princess introduces Elliot Cowan and Harriet Walter to the mix with great success
“I won’t be passed around Europe like a colection plate”
Following on from The White Princess, The Spanish Princess is based on the Philippa Gregory novels The Constant Princess and The King’s Curse, and the first instalment of eight episodes tackles the arrival of Catherine of Aragon to England to meet the man she has been betrothed to since they were both children, Arthur, heir apparent to Henry VII.
The biggest problem, aside from the weather and the racism (members of her court had Moorish and descent), is that the epistolary courtship that had so wooed her teenage heart, was actually written by his younger brother Henry…plot twist. But when Arthur died young, it meant that the plan for peace between England and Spain could still be found in another marriage. Continue reading “TV Review: The Spanish Princess, Series 1”
A trio of West End cast recordings (well, one’s off-West-End…) show that it is sometimes hard to recapture the stage magic
Starting off with the best of this bunch, the Southwark Playhouse’s production of Working might not have seemed like the obvious choice for a cast recording but maybe the lure of a couple of new Lin-Manuel Miranda tracks was a real sweetener.
Truth is, it is the quality of the cast’s performances that make this a fantastic addition to the list of albums you need to hear. From Siubhan Harrison’s impassioned ‘Millwork’ to Dean Chisnall’s gleeful ‘Brother Trucker’, and the highly charismatic Liam Tamne nails both of Miranda’s contributions – the wilful ‘Delivery’ and a corking duet (with Harrison) on ‘A Very Good Day’.
Experience pays though, as Gillian Bevan and Peter Polycarpou take the honours with some scintillating work. The latter’s ‘Joe’ is beautifully judged, as is the former’s ‘Nobody Tells Me How’, both demonstrating the uncertainty that can come at the end of a long career, when retirement doesn’t necessarily hold the joyful promise it once did. Highly recommended. Continue reading “Album reviews: Working / Bat out of Hell / 42nd Street”
What to do when you want your new film to be a new version of one of Agatha Christie’s most famous whodunnits? Well if you’re Kenneth Branagh, you call in some of your mates to play the main characters, friends like Dame Judi Dench, Johnny Depp, Michelle Pfeiffer, Olivia Colman, Penélope Cruz, Daisy Ridley, Leslie Odom Jr., Josh Gad, and Willem Dafoe. Plus you can also get some real talent to fill the minor roles – blink and you might miss the likes of Paapa Essiedu, Miranda Raison, Hadley Fraser, Adam Garcia, even Sergei Polunin.
But if you’re Kenneth Branagh, you also cast yourself as Hercule Poirot and as he’s directing himself, there’s a sense that the sharing of some much-needed constructive feedback didn’t happen. For as his ridiculously huge moustache is placed front and centre in scene after scene, this Murder On The Orient Express feels nothing so much as a vanity project. Which is all well and good if you like that sort of thing, and I quite like Branagh as it happens, but it is absolutely fatal in a story that is intrinsically about the ensemble. Continue reading “Film Review: Murder On The Orient Express (2017)”
“You’re going out a youngster, but you’ve got to come back a star”
In the rush to dole out the five star reviews that seem de rigueur for any big musical these days (22 for An American in Paris so their new poster shouts proudly), there appears to be a willingness to overlook storytelling for spectacle. As at the Dominion, the newly opened 42nd Street is a massive dance show which is undoubtedly hugely, well, spectacular. And it also suffers from not being particularly dramatically interesting, Michael Stewart and Mark Bramble’s book contains hardly any dramatic tension at all – will the show-within-the-show be alright on the night? What do you think?!
I start with this line of thought because as much as I was impressed by 42nd Street, it rarely moved me in the way that Golden Age musical theatre (my favourite genre of all, surprising no-one) at its best does. Based on a novel from the 1930s, the book here – as directed by Bramble – sacrifices any hint of suspense or meaningful character development for the headlong rush from production number to production number. And it just about gets away with it due to the sheer scale of what is being mounted here. 40+ bodies tap-dancing in unison in bucket-loads of sequins – bawdy and gaudy indeed.