The Barn Theatre has announced an all-star line up for their second virtual concert, The Barn Theatre Presents: The Music of Finn Anderson, which will celebrate the work of the Scottish musical theatre composer Finn Anderson.
The concert, which will be hosted by Barn Theatre producer Jamie Chapman Dixon, will be the second of the Barn Theatre in Cirencester’s new virtual concert series, The Barn Presents, which celebrates the work of emerging British musical theatre composers.
Finn Anderson previously collaborated with the Barn Theatre on the music and lyrics for the theatre’s 2019 world premiere of Alan Pollock’s new version of Charles Dickens’ A Christmas Carol, starring Olivier Award nominee Patrick Ryecart (The Crown, The King’s Speech). He is also an Off West End Award nominee for his musical Islander and was recently announced as 2020’s Cameron Mackintosh resident composer at the Lowry and Hope Mill Theatre.
Continue reading “News: Line-up announced for Finn Anderson virtual concert”
The Barn Theatre in Cirencester have announced a new Shakespeare series which sees the Bard’s beloved monologues reimagined to fit into modern day lockdown amid the coronavirus pandemic. The series will release a new monologue every weekday to the Barn Theatre’s Facebook, YouTube and Twitter accounts, beginning 20th April 2020.
The series, which is co-produced by actor Aaron Sidwell, director Hal Chambers and the Barn Theatre, forms part of the Barn Theatre’s free Behind The Barn Door streaming service, which airs on their Facebook, YouTube and Twitter accounts. The series is production co-ordinated by company stage manager Emma Smith. Continue reading “News: Bard from the Barn announced”
“Do you want puppets?”
No matter the weather, as you walk into the Lyttelton’s auditorium for Pinocchio, you’ll find that it is snowing. A simple trick but one that inspires just the right childlike wonder for an adaptation of such a popular fairytale, but it is also a sense of magic that John Tiffany’s production of Dennis Kelly’s adaptation sometimes struggles to hold onto, as darkly disturbing as it is exuberantly heartfelt.
That darkness comes from several directions. The narrative cleaves closely to the moral instruction of a fable so Pinocchio’s struggle with the dark side is presented as a straight-up choice between good and evil – make the wrong choice in dealing with the Fox or the Coachman and things could end up pretty grim, as we witness in a particularly brutal bit of puppet mutilation (it shocked even me!). Continue reading “Review: Pinocchio, National”
Stick it in your fam’ly album”
With Half A Sixpence due to close in the West End in exactly one month, I thought now was as good a time as any to give the Original Cast Recording a listen. The show has built up quite the devoted following in its lifespan but for me, in both its original Chichester production and the subsequent transfer to the Noël Coward, it was a musical that I liked rather than loved, the balance not quite right with all the magic in the second half.
And listening to the show simply reminded me of how I felt. Stripped of its extraordinary physicality, Charlie Stemp’s chirpy chappy routine is surprisingly quite wearisome to listen to from the outset. The sentiment of the opening title track proving cloying and the lack of any killer new tunes from Stiles and Drewe before the interval leave the score sounding solid rather than spectacular, I still can’t hum you a single track save ‘Half A Sixpence’ itself. Continue reading “Album Review: Half A Sixpence (2016 London Cast Recording)”
“I’d let him strum my banjo”
It was no surprise to discover that Half A Sixpence would be transferring into the West End – its run at Chichester Festival Theatre was a huge success (you can read my review here) and with Cameron Mackintosh on producing duties, it was always going to be a case of when rather than if. It’s a slow-burner of a show, the second act really is the business thanks to Andrew Wright’s choreography and as it opened at the Noël Coward Theatre last night, you can now read my 4 star review for the transfer over at Cheap Theatre Tickets here.
Running time: 2 hours 45 minutes (with interval)
Booking until 11th February
This trio of album reviews covers Peter Pan A Musical Adventure, The Confession Room and Marie Christine
“Would I oblige?
Michael John LaChiusa is one of those composers of the new American musical theatre mould, or maybe even beyond, in adopting a dense and complex compositional style that means his work hasn’t always had the credit it deserves. This original Broadway cast recording of his 1999 show Marie Christine feels like a case in point – a Tony-nominated book and score that has rarely been revived, never mind made it to the UK. An adaptation of the Medea story that relocates it to 1890s New Orleans, it is blessed by a stunning central performance from Audra McDonald as a remarkably vicious leading lady. The score is made up of fragmented pieces of music rather than conventional notions of what we would consider a song but its operatic drama hits the mark for me. And I’d love to see it the UK some time soon please… Continue reading “Album Reviews: Peter Pan A Musical Adventure / The Confession Room / Marie Christine”
“Don’t forget your banjo”
Take a deep breath… the 1963 musical Half A Sixpence by Beverley Cross and David Heneker, based on the HG Wells novel Kipps: The Story of a Simple Soul, has been adapted anew for Chichester audiences with Julian Fellowes writing a fresh book and George Stiles and Anthony Drewe adding new music and lyrics to Heneker’s original songs. And because Cameron Mackintosh is Cameron Mackintosh, he gets a co-creator credit.
Originally written as a star vehicle for Tommy Steele, Half A Sixpence is the story of Arthur Kipps, an orphan who dreams of a better life whilst earning a pittance as a draper’s assistant in Shalford’s Bazaar, Folkestone. An unexpected bequest thrusts a fortune into his hands but his meteoric rise in society leaves him conflicted about his place in life as his heart is pulled between two very different young women (and a banjo). Continue reading “Review: Half A Sixpence, Chichester Festival Theatre”
“I may be in love but im not stupid”
To Leicester’s Curve, and just go.
Nikolai Foster’s directing it,
He’s changed some things that you may approve
Others are not so successful
But what do I know? Continue reading “Review: Legally Blonde, Curve”
“If love affairs you like
with young bears you like
why nobody will oppose”
Sheffield Theatre’s production of Anything Goes is launching on a simply mammoth tour of the UK – over 30 venues in 10 months – so it’s a pretty good job that it’s a largely excellent production. It’s rather amusing to note the number of reviews that mention that this classic show is over 80 years old yet still point out that the much revised book isn’t anything special at all but merely a framework on which to hang some of the most glorious songs of Cole Porter’s career. Given the average age of the audience, this will not come as a surprise to anyone, but there’s much here in Daniel Evans’ production to commend it to the young’uns too.
Alistair David’s choreography is a real delight, a constant breath of fresh air on which the show floats giddily, whether it’s the leads fooling about as if they’re Fred Astaire, sailors mooning over bathing beauties, or the whole company possessed with a spiritual glee. The eye is of course drawn to the stunning Act 1 finale set to the title track (which will always belong to Kate Capshaw’s bizarrely translated version in Indiana Jones and the Temple of Doom, my first experience thereof) which is a jaw-dropping, shoe-shuffling, tap-dancing dream, cleverly referencing classic moves but also firmly establishing its own identity by keeping Debbie Kurup’s sensational Reno Sweeney front and centre. Continue reading “Review: Anything Goes, New Wimbledon Theatre”