Pitlochry Festival Theatre is delighted to announce the Summer Ensemble for its 70th anniversary season which will take place in the picturesque grounds of the Perthshire theatre from the end of this month.
Pitlochry Festival Theatre’s exciting 22-strong Summer Ensemble will feature BAFTA Scotland award-winning Jane McCarry (Isa Drennan in Still Game, BBC Scotland and Granny Murray in Me Too!, CBBC); Colin McCredie (Taggart, ITV and River City , BBC Scotland); Lauren Samuels (We Will Rock You, Bend it Like Beckham and Grease, all West End and Cinderella, Lyric Hammersmith); Daniel Boys (The Boys in the Band, The Park Theatre and West End, Avenue Q, Tommy and Spamalot, all West End); playwright Jo Clifford; Richard Colvin (Sunshine on Leith, UK tour and A Christmas Carol, Octagon Theatre Bolton); Brian Ferguson (Beats, Sixteen Films); Beth Frieden (Class Act, Traverse Theatre and Caiptean Cora, Theatre Gu Leòr); Connor Going (Footloose, UK tour and The Choir of Men , US and Australia tour); Katie Grosset (various productions with Scottish Opera) Barrie Hunter (Smile and All My Sons, Dundee Rep) and Nicholas Karimi (The Twilight Zone, Almeida and West End; Macbeth, National Theatre and James II, National Theatre of Scotland). Continue reading “News: Pitlochry Festival Theatre announce Summer Ensemble for 70th anniversary season”
As unlikely a Proclaimers musical may seem, this gorgeous production of Sunshine on Leith at West Yorkshire Playhouse is probably the best thing I’ve seen this year
“Your beauty and kindness
Made tears clear my blindness”
Is a jukebox musical still a jukebox musical when you don’t know most of the songs? You feel that most people would be hard pressed to name more than two songs by The Proclaimers and so it is part of the genius of Stephen Greenhorn (writer) and James Brining (commissioner and director) that they managed to fashion something so perfect, that somehow still feels so familiar, from the back catalogue of the Edinburgh brothers.
Sunshine on Leith was first seen at the Dundee Rep in 2007 and though it has toured Scotland a few times since, it has rarely been seen south of the border. So who else to revive it but Brining himself for West Yorkshire Playhouse. And what a straight-up, fantastic success it is. London has seen its fair share of big musicals open this month but none have made me cry, never mind feel so much as this. Continue reading “Review: Sunshine on Leith, West Yorkshire Playhouse”
“Hear our thrilling and willing awakening”
It is no secret that Howard Goodall’s score for The Hired Man is one I consider to be one of the most beautiful in all of British musical theatre, and so any opportunity to see the show – from orchestral concerts to fringe productions – is one I’ll gladly take. This cast recordings errs very much towards the latter, taken from New Perspective’s chamber-musical interpretation which cast just eight people.
Richard Reeday’s musical direction sees the orchestrations similarly refined down to piano, trumpet and violin and so it offers something of a rough-and-ready approach which has both merits and demerits. A limited ensemble means that the choral power of tracks like ‘Song of the Hired Man’ don’t carry quite the heft that the vision of a community as one demands to meet the scope of Goodall’s work. Continue reading “Album Review: The Hired Man (2007 UK Tour Cast)”
“Why do whores only sing in musicals?”
Showcasing the work of a lyricist is a different prospect from that of a composer, something that is immediately apparent from glancing at the cover and booklet of Love, Lies & Lyrics – The Words of Lesley Ross, the latest new musical theatre CD emerge from the nurturing cocoon of SimG Records. This album features music from 4 different writers, taken from over a dozen musicals, with the now customary array of West End stars – over 30 in number here – so it can’t help but be highly eclectic as a collection, in something of a similar vein to Robert Gould’s collection from last year.
The diversity of this approach certainly has its benefits, especially as man of the songs are around the 2 minute mark, as it means the album can bounce around wryly comic observation songs like ‘Pick A Ticket!’ and ‘Him in 23B’ to the more heartfelt but still story-led balladry of Nigel Richards’ ‘And In My Heart’ and Annalene Beechey’s ‘Song for Someone’. If I had to pick, Madalena Alberto’s plaintive lullaby ‘I Will Be There’ is the highlight of the record – its gorgeously delicate emotion coming from a perfect confection of lyric, music and performance. Continue reading “Album Review: Love, Lies & Lyrics – The Words of Lesley Ross”