News: The Show Must Go On line-up revealed

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”

News: concerts announced, warning given

I thought Liam Tamne’s tweet thread about diversity was worth flagging up ahead of today’s concert announcements as talk about change is proving awfully cheap compared with actually actioning it…


The West End Does… team returns to the stage with West End Does: Christmas 2020 at Cadogan Hall on 13th December. They promise a socially distanced West End Christmas extravaganza, featuring stars of the West End performing songs and carols with Louise Dearman, Killian Donnelly, Rachel John and Oliver Tompsett announced as headliners and special guests to be announced in the coming weeks. Continue reading “News: concerts announced, warning given”

Review: An Officer and a Gentleman, Curve

Emma Williams reconfirms her star status in this 80s musical adaptation of An Officer and a Gentleman at Leicester’s Curve Theatre ahead of a UK tour

“Way to go, Paula! Way to go!”

From its opening number (which provides an unsettling reminder that Status Quo actually had a decent tune or two), this major new musical of An Officer and a Gentleman shimmers with a sense of real quality. Some might demur at the notion of a movie remake peppered with a random assortment of pop songs from the 1980s but the resulting piece of theatre is highly enjoyable.

This is down to the integrity and craft of Nikolai Foster who rightly takes this source material (book by Douglas Day Stewart and Sharleen Cooper Cohen from his original screenplay) seriously. We may be in 1982 but there’s no jokey visual gags about that decade here, just an over-riding sense of life on the edge for the working class community of Pensacola, Florida, looking on at the US Naval Aviation Training Facility that dominates their city. Continue reading “Review: An Officer and a Gentleman, Curve”

Not-a-re-review: Jesus Christ Superstar, Open Air Theatre

Hadn’t planned to revisit Jesus Christ Superstar but stepped at the last minute for an ailing friend…
And whilst it remains impressive, it also remains elusive, caught between gig and theatre…

 

 Meaning there wasn’t much to discover anew on second viewing (my review from last year).
Still worth a shot if you’ve not seen it though.

All photos © Johan Persson

Continue reading “Not-a-re-review: Jesus Christ Superstar, Open Air Theatre”

Review: Jesus Christ Superstar, Open Air Theatre

“Could you ask as much from any other man?”

Andrew Lloyd Webber sure doesn’t make it easy – for his support of new musical theatre in taking over the St James Theatre to making a transatlantic dash to the House of Lords to vote in support of tax credit cuts for the working poor, it’s hard to know where to stand. His status in the British theatrical establishment remains largely unchallenged though and it is to the 46-year-old Jesus Christ Superstar that the Open Air Theatre in Regents Park have turned for their big summer musical, directed this year by Timothy Sheader. 

And how do you play a 70s rock opera for today? You bring onboard shit-hot creatives like Tom Scutt and Drew McOnie to reinvent it for 2016. Scutt’s design choices make a virtue of the timeless iron structure that edges the stage. The company arrive in luxury sportswear, its loose silhouettes and muted earth tones akin to a Kanye West fashion show with which McOnie’s contemporary choreography meshes perfectly. Later scenes feature the glitter-covered muscularity of something like a late night Brighton Pride, a smattering of Xerxes from the film 300 and all out Sink the Pink excess during the whipping sequence. Continue reading “Review: Jesus Christ Superstar, Open Air Theatre”