News about Love Story’s 10th anniversary concert, Bonnie and Clyde in concert, Gatsby the Musical and the return of Sasha Regan’s HMS Pinafore
Erich Segal’s iconic novel Love Story became a much-loved film and, in 2010, a hit West End musical. Now stars reunite, along with the creative team behind the acclaimed Cadogan Hall concert of Howard Goodall’s The Hired Man. Alongside the original West End leads Emma Williams and Michael D Xavier is Michael Matus (Phantom of the Opera, La Cage Aux Folles) who plays the role of Phil. Joining them are Rebecca Caine (Les Misérables, The Sound of Music, Preludes), Simon Green (Titanic, Mrs Henderson Presents) and Jenna Boyd (Come From Away).
The company is completed by Simbi Akande (The Prince of Egypt), Jordan Cunningham (Priscilla Queen of the Desert), Alison Driver (What’s New Pussycat?), Charlie-Jade Jones (West Side Story), Maximillian Murphy (Parade), and Nikhil Singh Rai (Les Misérables, Mountview). Love Story is simple and poetic. Wealthy Harvard student Oliver falls for artistic Radcliffe student Jenny and they marry against his family’s wishes – a choice that leads to disinheritance. Goodall’s soaring melodies and the late Stephen Clark’s words are sure to tug on the heartstrings in a night not to be missed. Continue reading “Musicals update November 2021”
Photo © Pip
Fionn Whitehead, star of Dunkirk and Black Mirror: Bandersnatch, will take on the titular role in an upcoming contemporary digital adaptation of the Oscar Wilde classic, The Picture of Dorian Gray.
The Picture of Dorian Gray, from the team behind the celebrated digital production of What a Carve Up!, is set to push the theatrical form like its predecessor; utilising elements found in radio plays, films, documentaries as well as traditional theatrical techniques.
Set in a profile pic-obsessed, filter-fixated world where online and reality blur, influencer Dorian Gray makes a deal. For his social star never to fade. For the perfect self he broadcasts to the world to always remain. But as his mental health starts to decline, as corruption and murderous depravity start to creep into his world, the true and horrific cost of his deal will soon need to be met.
The Picture of Dorian Gray, which runs for two weeks from 16-31 March, will reunite Henry Filloux-Bennett, writing the new adaptation, and director Tamara Harvey. Continue reading “Assorted January news”
“You used me, you were lying, you are only here for spying”
The Grimeborn Festival is now in its sixth year of providing a very East London take on opera at the Arcola Theatre in Dalston, but wrapping up the programme this year is a new piece of musical theatre – Thirteen Days by Alexander S Bermange. A rather ambitious piece of work set around the Cuban Missile Crisis, not only does it tell the story of the brinkmanship between the three leaders of Kennedy, Khrushchev and Castro, it dramatizes the conflict in miniature in the form of a love triangle between a Cuban, a Soviet and an American, and thirdly also attempts to portray how the events affected the populations of each country.
In painting his canvas so broad, Bermange – in charge of book, music and lyrics here – sets up a considerable challenge for himself, one which is not helped by his writing style. He is very much of the old-school British musical theatre school which stands him in good stead for the second of the above strands, the intimate love story of the Cuban student engaged to a Soviet engineer but whose head is turned by an American visitor whose intentions are, initially at least, less than honourable. The stirring balladry that comes out of songs like ‘Anyone But You’ and ‘More Than A Memory’ feels ready to take up residence on a West End stage, as does the storming Act One finale – the mark of many a good musical past. Continue reading “Review: Thirteen Days The Musical, Arcola Theatre”
“I shall do thee mischief in the wood…
‘Ay, in the town, in the temple…’”
Last July’s Romeo and Juliet at the Actors Church in Covent Garden was a real unexpected surprise in a summer that was full of productions of that play, site-specific theatre that genuinely worked with the idiosyncrasies of the venue and able to exploit them to their full advantage. This year Iris Theatre are putting on A Midsummer Night’s Dream as their main production for the summer, an early showing of which I caught this week, to see whether the magic could be recaptured with this, my most favourite of Shakespeare’s plays.
The venue is St Pauls Church, right in the middle of Covent Garden with its own secluded courtyard filled with trees and shrubbery, which lends itself well to the evocation of the Forest of Arden: Dan Winder’s fluid production places a strong connection with nature front and centre so that the fairies are closer to woodland sprites than the ballet-dressed moppets of old, fitting in perfectly to the grassy knolls, wildflower-strewn groves and secluded bowers, the steps of the church creating a more stately locations where needed. The audience follows the action around the grounds, though there’s only perhaps 2 moves in each half and there’s sufficient room for everyone at each place, sitting or standing – something which is not always the case in promenade productions. Continue reading “Review: A Midsummer Night’s Dream, Actors Church Covent Garden”