Theatre Support Fund+, the team behind ‘The Show Must Go On!’ campaign and MZG Theatre Productions are delighted to announce 18 West End shows and an all-star musical theatre cast coming together for a unique one-off concert in the biggest West End celebration this summer in THE SHOW MUST GO ON! LIVE AT THE PALACE THEATRE from 2 – 6 June 2021.
All shows which appear on the iconic The Show Must Go On! design will be performing alongside Pretty Woman and a West End debut performance from Back To The Future. This will be the first time in history these West End musicals will come together for one night of pure joyous entertainment which celebrates the wealth of talent in London and includes a multi award winning creative team, over 50 performers and an orchestra made up of some of the finest musicians in London.Continue reading “News: The Show Must Go On line-up revealed”
With a ‘roadmap’ in place, the West End is starting to make plans for a summer that might look something close to normal
The Prince of Egypt will return to the Dominion Theatre from 1st July, operating under socially distanced restrictions until 4th September, after when they intend to return to ‘normal’! The show has also extended its run until Saturday 8th January 2022.
The production has confirmed that the entire cast and orchestra of almost 60 artists, will be presented in its original form at all performances. The cast of 43 is led by: Luke Brady (Moses), Liam Tamne (Ramses), Christine Allado (Tzipporah), Alexia Khadime (Miriam), Joe Dixon (Seti), Debbie Kurup (Tuya), Mercedesz Csampai (Yocheved), Adam Pearce (Hotep), Tanisha Spring (Nefertari) and Silas Wyatt-Barke (Aaron). Further casting is to be revealed. Continue reading “News: the West End starts to make plans…”
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”
There are (still) no words to say about Bat Out Of Hell that can really do it justice (here’s my attempt from the first viewing) and in any case, even if I wanted to I couldn’t, as it really is a show that demands to be seen having partaken of a beverage or seven. And believe me, last night I partook! So I guess I’ll see you at the Coliseum next year then, you can get the first round in 😉
“Will you hose me down with holy water, if I get too hot?”
I think it is safe to say thatBat out of Hellis one of the most random things you’ll see in the West End this year, if not ever, whether you’re a fan of Meatloaf or not. It is a deliciously over-the-top production quite unlike the usual fare in the august surroundings of the London Coliseum but that’s part of its charm here – what would be sacrilegious is actually cheekily charming. Find production photos of the show here and read my 4 star review for Cheap Theatre Tickets here.
Running time: 2 hour 50 minutes (with interval) Booking until 5th August
Carrie managed that feat in the late 1980s, though for the wrong reasons, when the moderately-received RSC production transferred to Broadway and swiftly became a multi-million dollar flop, lasting for just 16 previews and 5 performances.
Finally taking Stone’s advice after a long period licking their wounds, book writer Lawrence D Cohen, composer Michael Gore and lyricist Dean Pitchford – undoubtedly boosted by the show’s growing cult reputation – substantially reworked Carrie in 2012 and it is that version that is now seeing the light of day with Gary Lloyd’s production at the Southwark Playhouse – its London debut no less. Was it worth the wait? Did it deserve to flop? Does she make things fly? Does she get covered in blood? Continue reading “Review: Carrie, Southwark Playhouse”