Priscilla Queen of the Desert will restart its tour at the Everyman Theatre, Cheltenham on 23rd June. Miles Western will take on the role of Bernadette, with Nick Hayes as Adam/Felicia and Edwin Ray playing Tick/Mitzi. They are joined by Daniel Fletcher (Bob), Rebecca Lisewski (Marion), Kevin Yates (Miss Understanding), Gracie Lai (Cynthia) and Ronan Burns (Frank). The Divas will be played by Claudia Kariuki, Rosie Glossop and Aiesha Pease, and the cast is completed by Emma Katie Adcock, Jak Allen Anderson, Allie Daniel, Martin Harding, Clarice Julianda, Jemima Loddy, Nathan Ryles, Tom Scanlon and Jermaine Woods. Continue reading “News: a whole load of UK musical tour casting announcements”
Simon Annand’s Time To Act is a beautiful book of photos capturing actors in the minutes before they go on stage
Tackling the constraints of the pandemic in its own way, Simon Annand’s fantastic new book of photos Time To Act has launched a virtual exhibition of some of the photographs which has now been extended to until Christmas. It’s an ingenious way of sharing some of the hundreds of images from the book and should surely whet the appetite for either just buying it now or putting on your list for Santa to collect soon.
Continue reading “Book review: Time To Act – Simon Annand”
“You can try to stop my dancin’ feet”
This mahoosive new tour of Hairspray started in the middle of last month and stretches right through to June 2018 and it certainly feels like it has the potential to be a great success. There are some cracking performances which really elevate Paul Kerryson’s production of this most effective of shows (music by Marc Shaiman, lyrics by Scott Wittman and Shaiman, book by Mark O’Donnell and Thomas Meehan) and choreography from hot-shot of the moment Drew McOnie.
And given how dance heavy Hairspray is, it is an astute move from Kerryson as McOnie’s inventive use of movement establishes and reinforces so much of the febrile mood of simmering racial tension and potential societal change. In the hands of the likes of Layton Williams’ Seaweed and an effervescent ensemble, it’s hard to keep a smile from your face as the sheer toe-tapping enthusiasm of it all as fabulous group numbers shake and shimmy their way across the stage. Continue reading “Review: Hairspray, Orchard Dartford”
“Even with a turkey that you know will fold
You may be stranded out in the cold”
Blessed with one of the almighty scores of Broadway history, you’d think that productions of Annie Get Your Gun would be the simplest of gimmes but given that it is very much a piece of writing of its time, it’s not quite as easy as that (as I discovered recently in seeing Carousel for the first time). The gender politics therein are dubious at best and the treatment of Native Americans also speaks of severely outdated attitudes, so directors are faced with something of a conundrum. The Young Vic just went bizarre with it back in 2009 and now a major UK touring production by Ian Talbot opts for the ‘play within a play’ route, the framing device often used in The Taming of the Shrew to address similarly thorny issues.
Elements of the show have also been removed and tinkered to further redress the gender balance but in all honesty it feels like a step too far – applying both of these patches detracts from their intentions. If it is a bit of meta-theatre, then surely it can just be played as is, as we know not to take it seriously; or if we’re reinventing the story for 21st century eyes, then just rewrite it wholesale. Instead we’re left with something which never really achieves either aspect on a dramatic level, something exacerbated by the limitations of a touring set design. Fortunately, the production sounds like a dream with a superb orchestra though and has some cracking performances in it from a cast who deliver the utterly timeless score by Irving Berlin with all the panache it deserves. Continue reading “Review: Annie Get Your Gun, Churchill Bromley”
“I am not an ordinary woman”
Between balancing requests for reviews and selecting what other plays I want to actually see, it is a rare occasion that I actually attend the theatre as someone else’s guest for a show of their own choosing. But in order to see an old university friend and Dominic Tighe (only one of these was actually sat next to me though), my Sunday afternoon was spent at the Menier Chocolate Factory to see the Victorian farce Charley’s Aunt.
It is little secret that I am no great fan of a farce, though I have been trying my best to being open to having my mind changed, but this isn’t the one to force a reappraisal of the genre. It is what it is, a cross-dressing, slapstick-filled riot of an occasion – revived here by Ian Talbot – which sets its stall out from the very beginning with a character mugging for laughs. Continue reading “Review: Charley’s Aunt, Menier Chocolate Factory”