Irvine Iqbal has launched a new project called Same Voices Unite, which aims to raise awareness of the impact of Covid-19 in India and to get the message through, he has helmed a star-filled video featuring West End performers as part of its main campaign.
The video will feature a performance of Dan Gillespie Sells and Tom Macrae’s ‘It Means Beautiful’, from West End musical Everybody’s Talking About Jamie, sung by a cast of more than 30 performers. Audiences of the video will be directed to the One Family charity donation page. Continue reading “It Means Beautiful, for India Covid Relief”
News about new musicals in Leicester and Maidstone, plus concerts in the West End and Chiswick
The line up has been confirmed for the first concert of the series for Monday Night at the Apollo – which will be performed in front of a socially distanced audience at the Apollo Theatre on Shaftesbury Avenue on Monday 24 May, and simultaneously livestreamed to viewers at home via the theatre discovery platform Thespie.
Aimie Atkinson (Six, Pretty Woman), Cassidy Janson (&Juliet, Beautiful), Lucie Jones (Waitress, Rent), Cedric Neal (Chess, Motown the Musical) and Julian Ovenden (South Pacific, Downton Abbey) will join on-stage for an intimate night of music and theatrical chat, featuring ovation worthy performances of songs from their favourite genres with host Greg Barnett (Miss Littlewood, Swallows and Amazons). Continue reading “Some musicals news from the last week”
Launching new audio drama platform Sound Stage, Mark Ravenhill’s Angela is a profoundly moving account of his mother’s experience of dementia
“I don’t like it when they change the story, I wish they would stick to the story”
I don’t know why I put myself through dementia dramas. They tap into one of my deepest fears and more often than not leave me terribly distressed but who says art should ever be easy? Mark Ravenhill’s autobiographical Angela launches the Sound Stage platform created by the Royal Lyceum theatre and Pitlochry Festival theatre, adding in virtual theatregoing elements to the audio drama experience and predictably, is gut-wrenchingly yet beautifully felt.
Drawing directly on his mother’s journey with Alzheimer’s and how that impacted the whole family, Ravenhill places her experiences at the heart of his play, a boldly disconcerting move which feels entirely right. As we slip from present to past, as an encounter here triggers a memory there, a portrait is built of the richness of a life lived, even as recollections of it are slipping away from her grasp. Continue reading “Review: Angela, Sound Stage”
The Royal Lyceum Theatre Edinburgh and Pitlochry Festival Theatre, in association with Naked Productions and BBC Radio 3 are delighted to announce the cast for Sound Stage’s first production; Angela, a brand-new autobiographical play by Mark Ravenhill airing 26 – 28 March.
Angela centres on the playwright’s mother, at the age of 84 and suffering with dementia, as she looks back across her life. Intercutting between Angela in her old age, her memories and mind failing her, and in her youth; growing up, moving away from her roots as the world of drama welcomed her. The Play depicts her struggle with depression and the challenges of her own aspirations, and becoming a mother, poignantly set against Mark’s experience of beginning to learn ballet, his lifelong passion, in his fifties. Continue reading “News: Cast announced for the premiere of Mark Ravenhill’s first autobiographical play Angela”
IT STARTS WITH A SPEECH
Presented by Irvine Iqbal
This award is for those that made the speech night after night encouraging audiences to donate, making a huge impact during the Bucket Collections in 2019.
Winner: Ashley Zhangazha
FABULOUS FUNDRAISING AWARD
Presented by Harriet Thorpe
This award is for the most inventive way of fundraising for Acting for Others.
Winner: Richard Carson Continue reading “Golden Bucket Awards 2020”
“Contradictions, city of extremes, anything is possible in Bombay dreams.
Some live and die in debt, others making millions on the internet”
True story, until last week I thought Bombay Dreams was written by Andrew Lloyd Webber. Not having seen it onstage nor listened to it before, all I knew was the Lord’s name was attached to it and assumptions were thus made – it’s even his name that appears first on the album cover. But peruse a little closer and you see he’s just ‘presenting’ as one of the original producers, cast your eyes a little further down and A.R. Rahman is revealed as the composer. This may of course be old news to you but for me, it was a revelation before I’d even started!
This was multi-award-winning composer Rahman’s first effort for the stage and the palpable effort to mesh his unique take on Indian music with the world of musical theatre is obvious from the off. The musical soundscape that begins ‘Bombay Awakes/Bombay Dreams’ is layered and intriguing but the mood is shattered as soon as Don Black’s lyrics crash in (see the quote up top for a sample) and the combination is cringeworthily fatal. And across the score as a whole, the sense of compromise, of trying to serve two masters whilst pleasing none is too evident. Continue reading “Album Review: Bombay Dreams (2002 Original London Cast)”
“Sometimes you’ve got to grab life by the balls
You take those balls and tuck ’em between your legs”
We should be talking about Sheffield, and how its place in the fragile ecosystem of British musical theatre has only become more and more invaluable. Nurturing shows like Flowers For Mrs Harris and This Is My Family into existence and taking pride in their understated nature, the venue has also been incubating new writing talent. Well, new to musical theatre at least, for Dan Gillespie Sells is the lead singer-songwriter of The Feeling and Tom MacRae has written several episodes of Doctor Who and sitcom Threesome. And inspired by a BBC3 documentary, a meeting with director Jonathan Butterell and a fairy godmother-like intervention from Michael Ball, the result is brand spanking new musical Everybody’s Talking About Jamie.
And what a joy it is, a breath of feel-good fresh air that can’t help but leave you feeling fabulous. With career advice flying by unheeded, all 16-year-old Jamie is really bothered about as his school-time comes to an end is whether he will attend the school prom as his drag persona Mimi Me or not. And rather brilliantly, the writing hones in on Jamie just as a young man – yes he’s queer and a kween but he’s also a person still finding out the extent of his identity and how to relate to a wider world that isn’t necessarily always set against him. It’s a refreshing take on LGBT+ storytelling, and a sorely needed one, tipping its hat to the tales of coming out and battling against intolerance that have gone before and then finding its own space to parse the consequences of being this fierce in the real world. Continue reading “Review: Everybody’s Talking About Jamie, Crucible”
“Are you a giraffe?”
Birthday Girl is a rather odd little thing, a 2001 film from Jez Butterworth (he of Jerusalem) that seemed to slip under the radar somewhat. It’s not brilliant but by the same token it isn’t terrible either and plenty worse films have made bigger waves. Ben Chaplin’s John is hapless in St Albans (is there anything else you can be there? ;-)), having no luck in love and so resorting to getting himself a Russian mail-order bride called Nadia. She turns up in the form of Nicole Kidman, who else, and though she can’t speak a word of English, she indulges his S&M fantasies and so job’s, it would seem, a good’un.
But it’s no happily ever after, Nadia’s two rough cousins soon turn up on the doorstep (played by Frenchmen Vincent Cassel and Mathieu Kassovitz, assumedly because the Russians were out on the day they were casting?) and John’s job as a bank clerk turns out to be rather important. Their unpredictable violence pulls John deep into a morass of deception and criminality but after the mid-film twists take place, the movie runs out of energy and trundles towards a rather uninspired ending that no amount of random Brit cameos (Ben Miller, Reece Shearsmith) can rescue. Continue reading “DVD Review: Birthday Girl”
“Sometimes it’s not about knowing the right answer”
Starter for 10 may only have been filmed seven or eight years ago but for several of its leads, it feels like a lot longer. For it is a great opportunity to see James McAvoy, Rebecca Hall and Benedict Cumberbatch earlier in their careers and all exhibiting a youthful freshness which has now matured out of their performances. David Nicholls wrote the screenplay from his own novel, about a working class Essex lad to makes it to university in Bristol, the first in his family, and pursues his long-cherished dream of participating in TV quiz show University Challenge.
McAvoy plays Brian, the naïf at the heart of the story, looking almost impossibly young and appealingly handsome and there’s fun to be had in his awkwardness at settling into uni life, his pursuit of the brittle TV presenter wannabe blonde Alice, played by Alice Eve and his burgeoning friendship with Rebecca Hall’s politically active student Rebecca. Hall is wonderful here, full of quirky charm and wry humour and as the ‘right’ one for Brian, even though he can’t see it, there’s a great pull to their relationship. Continue reading “DVD Review: Starter for 10”
“You do compete for the good opinion of society, do you not?”
*This review is a bit spoilerific so don’t read on if you don’t want aspects of the play, and others, to be revealed to you*
When people ask me to describe the plot of a play, I almost always end it with “…and then the aliens arrive” because that’s the way my mind works and generally speaking, it’s a safe assumption that the playwright won’t have gone there. So imagine my surprise when they actually arrived in the second act of Salad Days, it was like all my Christmases at once and because of the daffy silliness of the whole shebang, it was able to pull it off. Working in similarly offbeat surprises into straight drama is perhaps a more difficult job though and one which arguably has to work harder to make a success of it.
The scope of Bruce Norris’ new play The Low Road would seem to preclude the need for such an approach. A sprawlingly epic trawl through the growth of our (western) economic system told through the fable-like tale of Jim, an entrepreneurial young man roaming through an 18th century America whose single-minded financial knowledge and ambition prefigures the capitalist mind-set that is so familiar to us today. A post-interval modern-day interlude draws explicit parallels and connections between the actions and attitudes of now and then to reinforce its main thesis about the triumph of individualism. Oh, and there’s an epilogue. Continue reading “Review: The Low Road, Royal Court”