Best Actor In A Play Sponsored By Radisson Blu Edwardian:
Benedict Cumberbatch, Hamlet
James McAvoy, The Ruling Class
Bradley Cooper, The Elephant Man
Mark Rylance, Farinelli and the King
Alex Hassell, Henry V
Best Actress In A Play Sponsored By The Umbrella Rooms:
Nicole Kidman, Photograph 51
Denise Gough, People, Places and Things
Lia Williams, Oresteia
Rosalie Craig, As You Like It
Harriet Walter, Death of a Salesman Continue reading “2016 What’s On Stage Award nominations”
A third trip to Gypsy?
My reaction on finding out it was being recorded for the BBC and also DVD
My emotional state on leaving the show and being reminded once again how sensational it is from top to bottom,
You’ve got until 28th November, no excuses.
“You must admit that Elle Woods should join the chosen few”
Part of the fun of delving back into these soundtracks, so many of which I’ve had for a while, is challenging the preconceptions that I’ve allowed to build up in my mind. Sister Act the musical is the perfect example, mentally I didn’t rate it so hadn’t listened to it for an age but upon taking the time, I discovered it to be better than I remembered. That works both ways though and I’ve long rated the Legally Blonde the Musical soundtrack on this basis, even though it really stems from me having my favourite four tracks from it on my most listened to playlist.
So yes, ‘Omigod You Guys’ and ‘What You Want’ are two brilliant songs and I’ll fight anyone who says otherwise. Their glossy joie de vivre setting the scene perfectly for this camp-as-tits show and book-ended by the highly amusing ‘There, Right There!’ and the emotive title track which segues from its gorgeous ballad treatment into an energetic 11 o’clock number, there are some cracking musical moments in this show and with national-treasure-in-the-making Sheridan Smith at its helm as the determined Elle Woods, how could it be otherwise. Continue reading “Album Review: Legally Blonde (2010 Original London Cast)”
“I had a dream, a wonderful dream”
From the moment Imelda Staunton shook the very foundations of the Chichester Festival Theatre as Mama Rose in Gypsy, it was pretty much a given that a West End transfer of this Jule Styne/Stephen Sondheim show would be on the cards and that this incredible performance would be immortalised in an official cast recording. And it shouldn’t be taken for granted that Staunton is wowing audiences nightly at the Savoy and that we have been blessed with an album, for this is the kind of musical theatre perfection that surely only comes along once in a lifetime.
Much of the attention rightly falls on Staunton’s astonishingly nuanced portrayal of the ultimate stage mom but it would be a mistake to label this a one-woman show, Jonathan Kent’s production is far too good for that. She is supported by an extremely skilful performance from Lara Pulver as Gypsy Rose Lee, tracing this overlooked sister’s journey to unexpected stardom and listening to the growing confidence ‘Let Me Entertain You (Gypsy Strip)’, her shyness is cast off vocally as well as physically, like a chrysalis revealing the shimmering showgirl beneath. Continue reading “Album Review: Gypsy (2015 London Cast Recording)”
“Ready or not, here comes Mama…”
These days, it’s more of a surprise when the big musicals from Chichester Festival Theatre don’t transfer into London (cf Barnum). And though it took them a wee while to confirm that Jule Styne’s Gypsy would be making a similar leap, after receiving the kind of extraordinary reviews (including from yours truly) that would most likely canonise Imelda Staunton right here and now, there was never really any doubt that this Rose would get her turn again, 40 years after the show was last seen in the West End.
With such a build-up and expectations sky high, Jonathan Kent’s production has a lot to live up to – and you can sense perversely-minded naysayers dying to have their turn – but dare I say it, I think the show has gotten even better. A key aspect to this is that Anthony Ward’s multi-faceted and multi-piece set design fits much better into the Savoy’s proscenium arch, its machinations felt just a little too exposed on Chichester’s thrust though the pay-off is that Nicholas Skilbeck’s supple-sounding orchestra now has to be tucked away. Continue reading “Review: Gypsy, Savoy Theatre”
“Ohmigod youguys! Ohmigod!”
So after an impromptu visit to see Legally Blonde a couple of weeks ago as a favour to a friend, my scheduled return to the show took place this weekend in order to see how the new cast members are settling in, with the first major cast change since the show opened. Since I saw it so recently (and I saw so much this week too…), I’m linking to my thoughts on seeing it again here instead of repeating them: this post will focus mainly on the newbies.
Simon Thomas has taken over as Wagner, which marks a change from casting a more famous name in this role as has been done previously despite it not really being a major role at all. I remember being surprised first time round at how little the character is featured in the show, given that Duncan James’ face was plastered all over the publicity. He does well in what is quite a thankless role really, but I did enjoy his performance and his handsomeness definitely helps! Carley Stenson did well as Margot with a more endearing and sweet take on this girl, having already developed a great chemistry with the other Delta Nu girls but Siobhan Dillon just exudes confidence as Vivienne, seeming as if she’s been in the ensemble for ages with a great performance both acting-wise and in her singing, especially that whopper of a note in the Legally Blonde Remix at the end. Continue reading “Review: Legally Blonde The Musical (cast change), Savoy Theatre”
“Some girls fight hard; some face the trial”
I have tickets for Legally Blonde – The Musical later this month after the cast change as the final part of my trip round the musicals, but when a friend offered me a last second ticket on a cold dark night, I thought why not and decided to give this show another whirl. A more detailed review of the show can be found here, this will focus more on the performances this time round. The cast is largely the same, Richard Fleeshman being the only major change having taken over from Duncan James, but I saw Andy Mace as Professor Callaghan, on for an indisposed Peter Davison.
This really is Sheridan Smith’s show: her energy and vivacity drive proceedings on so effortlessly and naturally and she really is a gifted comic performer, getting the laughs in throughout, but also finding real emotional depth too. There was some unfortunate unscripted drama as she injured her shoulder (apparently nothing serious and not a dislocation as someone reported on Twitter) midway through the first half and the lights came back up as we anxiously waited to find out what would happen. She eventually resurfaced and continued bravely though in some discomfort, perversely lending the finale of Act I a real gritty, tear-jerking quality. An extended interval led us to suspect an understudy would appear, but to her credit, Smith finished the show and her second half performance showed no sign of the injury. I applaud her for continuing on and not wanting to disappoint her audience (who reciprocated with a raucous standing ovation) but I do worry about the physical toll this role is taking on her body, especially as she has now extended to January: it really is a demanding part, Elle is rarely off the stage and sings in the vast majority of the songs. Continue reading “Re-Review: Legally Blonde – The Musical, Savoy Theatre”
“You can’t come in here with all your singing, dancing and…ethnic movements”
If Priscilla Queen of the Desert was the marshmallow on top of the whipped cream on top of your cocoa, then Legally Blonde is the full mug of the best Viennese hot chocolate you can imagine. Sticking closely to the story of the film, with just a little streamlining, we follow Elle Woods, a Malibu princess and sorority queen whose world is rocked when her boyfriend leaves her for Harvard Law School and the pursuit of someone more ‘serious’. Elle then follows him but ends up finding out a lot more about herself than she anticipated. The book is completely original and I found it surprisingly good, the opening numbers of ‘Ohmigod you guys’ and ‘What you want’ were both great tunes, ‘Ohmigod’ in particular will not leave your head for hours! There are of course some weaker numbers in there, but never any boring ones which is achievement enough. Continue reading “Review: Legally Blonde The Musical, Savoy”