Just a quickie for this as the book is almost sold out now, but Sophie Ross and Danny Kaan’s coffee-table book Dear Audience is such a beautiful book that I’d encourage you to go and purchase one of the few remaining copies. Striving to photographically celebrate the arts industry from a wide range of performers through producers, MDs and writers, it is a nicely high-quality publication that matches that aim.
In the interest of fairness, I can’t pick favourites from the many many names featured here, just look at the tags to see the impressive roll-call. What really elevates the book though is the inclusion of heartfelt letters from some of the participants, adding a really personal note to the whole endeavour, reminding us of the personal cost of the pandemic alongside what it has done to the sector as a whole. Track down those last copies now.
An online bite-sized musical murder mystery? A Killer Party boasts a strong cast if not quite the killer instinct
“Did you always want to work as a traffic warden?’
Did you always want to work in an unviable industry?'”
A Killer Party is a curious thing. A murder mystery musical broken up into 9 episodes which can be watched at your own pace, it wears its lockdown origins a little too closely given how far the quality of digital theatre offerings have come over the last few months.
Written by Rachel Axler and Kait Kerrigan (book), Jason Howland (music), and Nathan Tysen (lyrics) and adapted for British audiences following its US-centric debut last years, we follow the case of Varthur McArthur, the artistic director of Blackpool’s
smallest regional theatre who is offed during a read-through for his latest production. Who’s your suspect? Take your pick from any of the theatrical stereotypes on offer. Continue reading “Review: A Killer Party”
Following its opening at the Watermill Theatre, a critically acclaimed sell-out tour in 2019, a highly successful Christmas season at The Other Palace in 2019, a Grammy nomination and 3 Olivier Award nominations, Amélie The Musical arrives in the heart of the West End this summer. Following the government roadmap announcement, tickets are on sale now for a socially distanced audience at the Criterion Theatre from Thursday 20 May. Olivier-nominee Audrey Brisson (The Elephantom, Pinocchio and Pericles (National Theatre), The Flying Lovers of Vitebsk (Kneehigh), and The Grinning Man
(Bristol Old Vic)), will return to the role of ‘Amélie’.
The five–time Oscar®-nominated film will be brought to life once again by a cast of actor-musicians and set to a critically acclaimed re-orchestrated score. With music by Hem’s Daniel Messé, lyrics by Nathan Tysen and Daniel Messé and book by Craig Lucas, Amélie The Musical is directed by Michael Fentiman. The full cast includes Sioned Saunders as Gina, Flora Spencer-Longhurst as Georgette, Rachel Dawson as Amandine/Philomene, Oliver Grant as Lucien/Mysterious Man, Chris Jared as Nino Quincampoix, Caolan McCarthy as Hippolito/Elton John, Samuel Morgan-Grahame as Joseph/Fluffy, Kate Robson-Stuart as Suzanne, Jack Quarton as Blind Beggar, Jez Unwin as Raphael/Bretodeau and Johnson Willis as Collignon/Dufayel. Nuwan Hugh Perera, Miiya Alexandra, Robyn Sinclair and Matthew James Hinchliffe complete the ensemble. Continue reading “Musical news aplenty”
The 21st Annual WhatsOnStage Awards are forging ahead, with a ceremony and concert recorded at the Turbine Theatre and streaming on Sunday 14th March. Tickets available here.
2020 being what it was means things will have to be different and the concert will be shining a light on a mixture of performances from shows that had their runs disrupted by the pandemic, those created during lockdown and those to look forward to in the future. Continue reading “News: the 21st Annual WhatsOnStage Awards arrive on 14th March”
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 and Danny 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”
It’s behind you. The Turbine lunges for the adult panto market with the brief if raucous fun of Cinderella – The Socially Distanced Ball
“Are you ready for some good old-fashioned family fun?
Well you’re in the wrong fucking place”
Just a quickie for this as you pretty much already know whether you like pantomime or not and heaven knows, Cinderella – The Socially Distanced Ball isn’t the show that is going to change your mind about that. There’s been a rise in these adult pantos which in some ways are a no brainer, catering to a festive audience who want to drink merrily without children running in the aisles, but there’s a real skill to the best panto writing that locates a sweet spot of humour that can hit home for both adults and kids.
This Cinderella, penned by Jodie Prenger and Neil Hurst, makes no pretence at finding such a balance, it is proudly full-on smut from the word go and the highly game company, directed by Lizzy Connolly, throw themselves whole-heartedly into the filthy frolics and profane prose. Cut down to just over an hour and six characters, there’s barely time for the show to outstay its welcome and a nifty song and dance or two offers ample opportunity for the players to shine, particularly Scott Paige and Oscar Conlon-Morrey’s wonderfully vile Ugly Sisters.
If you’re still writing your lists for Santa, then Dear Audience could be just what you’re looking for. A theatrical coffee table book filled with over 140 pages showcasing the Arts industry, with exclusive imagery, personalised letters to audiences and much more besides.
There’s a veritable who’s who of stage folk involved, from Sally Ann Triplett, Michael Xavier and Frances Rufelle to Oliver Tompsett, Linzi Hateley and Andy Coxon, and the book has been put together by Sophie Ross and Danny Kaan’s Digi Creative. Pre-orders can be made now and are guaranteed for Christmas delivery.
This set of album reviews covers Mazz Murray – Midnight Mazz – Here We Go Again, Mascherato the Musical (Original Studio Cast Recording) and Howard Goodall’s Songs from the Musicals Vol. 1
“You thrill me, you delight me
You please me, you excite me”
If anyone gets to follow Cher in making an album of ABBA songs, then it is probably the West End’s Donna Sheridan, Mazz Murray. Midnight Mazz – Here We Go Again sees her interpret 10 of Agnetha, Björn, Benny, and Anni-Frid’s best with an unexpectedness tenderness that you don’t necessarily always associate with the band. Handclaps guitar arpeggios adorn ‘Chiquitita’, a solo ‘My Love My Life’ feels packed with more yearning than ever, so too a delicately layered ‘I’ve Been Waiting For You’ which is making a late case to be one of my all-time favourite ABBA songs. A lovely way to revisit some of those oh-so-familiar songs. Continue reading “Album Reviews: Mazz Murray – Midnight Mazz – Here We Go Again / Mascherato the Musical / Howard Goodall’s Songs from the Musicals Vol. 1”
The Almeida has announce their new programme of socially-distanced theatre for Christmas 2020 and into 2021:
Nine Lessons And Carols: stories for a long winter, a new production created by Associate Director Rebecca Frecknall, Chris Bush and a company of six actors – Naana Agyei-Ampadu, Katie Brayben, Toheeb Jimoh, Elliot Levey, Maimuna Memon and Luke Thallon.
The Maladies, performed by the Almeida Young Company (18-25), written by Carmen Nasr.
Hymn, a new play by Lolita Chakrabarti, featuring Adrian Lester and Danny Sapani. Continue reading “News: Almeida and Turbine reopen, Oleanna cast”
Samantha Barks and Simon Lipkin lead a terrific ensemble in this innovative, virtual production of First Date – the Musical – shame about the show itself…
“It’s only a first impression
And though the impression is strong
It never can hurt to question
Though I doubt this will lead to romance”
There’s so much to commend in this virtual production of First Date – the Musical. Directed by Dean Johnson in the elegant surroundings of the Crazy Coqs, there’s a really clever use of video inserts to enhance this show about an unlikely blind date and make it stand out in the ever-crowded market of livestreams that are available.
Johnson’s videography is genuinely high-quality and provides a constant stream of laughs, as moody black and white segments will awkward pauses and fantasy sequences support the main event. And with Simon Lipkin and Samantha Barks leading the cast, and Oscar Conlon-Morrey, Nicholas McLean and Danielle Steers making up an ensemble of dreams, signs look good. Continue reading “Review: First Date – the Musical”