Featuring 18 West End musicals, The Show Must Go On is a concert to remember, featuring a whole host of theatrical talent both on and off the stage
“Just like Dolly Levi, we are back where we belong”
Showcasing 18 West End musicals that are reopening soon or in some cases, have already reopened, The Show Must Go On is a celebratory concert, gathering together so much on- and off-stage theatrical talent in aid of Acting for Others and Fleabag Support Fund.
With Bonnie Langford and Trevor Dion Nicholas hosting and gamely working their way through a multitude of rapid-fire show descriptions, the real MVPs of the night were the orchestra, under Stuart Morley’s direction, and the choir, made up of recent graduates, who enthusiastically put their voices to any number of harmonised accompaniments. Continue reading “Review: The Show Must Go On, Palace Theatre/online”
Ruthie Henshall, Darren Day, Sam Tutty and more star in an online 50th Anniversary concert of Stephen Schwartz’s Godspell
“Some men are born to live at ease, doing what they please”
We’ve all had to adjust our plans one way or another but not even a global pandemic is going to get in the way of Godspell celebrating its 50th anniversary with this online tribute concert. Conceived and directed by Michael Strassen, it reunites stars like Ruthie Henshall, Darren Day and John Barr with a show for which they made a studio cast recording in 1993, and also features a host of additional musical theatre talents.
The musical, score by Stephen Schwartz and book by John-Michael Tebelak, draws on the Gospel of Matthew as it moves towards the Passion of the Christ. But this adaptation points a little more towards inspirational optimism than outright spirituality, whilst introducing a creatively interesting way of presenting the songs which sets it apart from many of the other online offerings of the last few months. Continue reading “Review: Godspell 50th anniversary concert”
Ruthie Henshall, Darren Day, Sam Tutty and more star in Godspell 50th Anniversary concert
Prepare ye the way of Godspell in concert! Theatrical legends will come together to celebrate the 50th anniversary of Godspell in an exciting online concert experience. Ruthie Henshall (Chicago; Billy Elliot), and Darren Day (Joseph and the Amazing Technicolour Dreamcoat; Priscilla, Queen of the Desert) will return to reprise their roles from the 1993 cast recording; they will be joined by Sam Tutty (Dear Evan Hansen), Ria Jones (Sunset Boulevard; High Society), and Jenna Russell (The Bridges of Madison County; Fun Home). Continue reading “News: Godspell to receive the 50th Anniversary concert treatment”
I look ahead to some of the 2020 shows exciting me most with an emphasis away from the West End, looking mostly instead at the London fringe and across the UK
Sure, there’s all sorts of big ticket shows coming to London in 2020 (with big ticket prices too to go with their big names), like Sunday in the Park with George with Jake Gyllenhaal, Sister Act with Whoopi Goldberg, A Doll’s House with Jessica Chastain. But there’s so much more to discover if you venture away from Shaftesbury Avenue…
1 The Glass Menagerie, Odéon–Théâtre de l’Europe at the Barbican
Not that I want to be predictable at all but Isabelle Huppert! Acting in French! Right in front of you! I understand that van Hove-fatigue might be setting in for people but only a FOOL would pass up the chance to see one of our greatest living actors. A FOOL!
2 The Glass Menagerie, Royal Exchange
And if you wanted to do a direct compare and contrast, Atri Banerjee’s revival for the Royal Exchange will be worth checking out too for an alternative perspective.
3 The Wicker Husband, Watermill
Even before Benjamin Button tore my heart apart, I was excited for the arrival of this new musical by Rhys Jennings and Darren Clark but now, the bar has been raised even higher. And the gorgeous intimacy of the Watermill feels like a perfect fit.
4 Children of Nora, Internationaal Theater Amsterdam
Me: “I don’t need any more Ibsen in my life”
Also me: Robert Icke revisiting the world of A Doll’s House through the eyes of the next generation? Yes please.
5 Romantics Anonymous, Bristol Old Vic
I don’t think I thought this delicious Koomin and Dimond musical would ever actually return, so this short run in the UK ahead of a US tour feels like a real blessing. Now where did I put my badge? Continue reading “20 shows to look forward to in 2020”
Chicago returns to the West End at the Phoenix Theatre but is this the ideal 21st birthday present?
“He had it coming”
There’s a lot to like in this revival of Chicago (Josefina Gabrielle, Sarah Soetaert) but not quite enough to get the heart pounding (an ill-at-ease Cuba Gooding Jnr). Take a read of my 3 star review for Official Theatre here.
Running time: 2 hours 25 minutes (with interval)
Photos: Tristram Kenton
Chicago is currently booking at the Phoenix Theatre until 23rd June
“Come see the show,
She will neither know nor care”
It is always fascinating to listen to the cast recordings of shows that are regarded to have flopped, to see whether the writing was always on the wall or if some reason was responsible for the magic not happening. Lasting just four months at the Theatre Royal Haymarket in 2008, Marguerite is one such musical, despite (or maybe because of) the weight of expectation behind its writing team.
With a book by Alain Boublil, Claude-Michel Schönberg and Jonathan Kent (from the the Alexandre Dumas, fils’ novel La Dame aux Camélias) lyrics by Alain Boublil and Herbert Kretzmer, and music by Michel Legrand, the demands on these Gallic grandees were nothing short of recreating the exceptional success of Les Misérables (on which Boublil, Schönberg and Kretzmer collaborated) but it wasn’t to be. Continue reading “Album Review: Marguerite (2008 Original London Cast Recording)”
“A lot of people have lost faith in America”
I quite like the film version of Chicago but was surprised by the extent to which I had internalised its soundtrack upon listening to this London Cast Recording from 1997. Part of that lies in the fact that it is good few years since I’ve seen it onstage but there’s no excuse really, for a theatre nut like me. And sure enough, surrendering to the thrill of Ruthie Henshall and Ute Lemper here was a genuine pleasure and a great way to revisit Kander & Ebb’s score.
Henshall’s Roxie and Lemper’s Velma are surely among the best that these characters have ever been sung. The unrelenting stunt casting that kept the show a West End presence perhaps devalued the music a bit but in these hands, with these voices, you come to really appreciate the emotional complexity and proper darkness of these women and what they’re forced to do in order to keep their head above water and then some. Continue reading “Album Review: Chicago (1997 London Cast Recording)”
“Sometimes I stand in the middle of the floor”
With the National’s highly anticipated production of Follies (Dominic Cooke directing a cast of 37 and an orchestra of 21, lest you forget) about to start previews in a week’s time, I thought I’d listen to about a hundred different versions of perhaps its most famous song – ‘Losing My Mind’ – and try and decide on a top ten, with the assumption of course that whatever Imelda Staunton will do with the song will be completely, utterly, life-changingly extraordinary (no pressure Meldz).
Continue reading “Losing my mind over Losing My Mind – 10 top interpretations of the Sondheim classic”
“Who could ask for anything more”
Gershwin musical Crazy For You was last seen in the West End in this Open Air Theatre transfer and on the fringe at Highgate’s Gatehouse theatre but its opening run in London was a three-year stint at the Prince Edward from 1993. Credited as a ‘new’ Gershwin musical comedy, the show is an adaptation of their 1930 musical Girl Crazy sprinkled with some additional from the vast chapter of the Great American Songbook under the letter G.
And because of the quality of these songs, it’s hard not to fall entirely in love with an album that collects so many of them together, no matter the framework, especially when the cast is led by the superlative talents of Ruthie Henshall. Jae Alexander’s musical direction sounds sprightly and fresh throughout and real highlights include Henshall’s “Someone to Watch Over Me” and Kirby Ward’s “They Can’t Take That Away From Me”.
“Give me this moment, this momentous moment”
I was excited by the prospect of a new John Owen-Jones album but the reality of Bring Him Home – A Collection of Musical Favourites was, I have to say, a little disappointing. For it is something of a greatest hits affair, collecting together tracks from three of his previous albums – Unmasked, Rise and his self-titled album and adding in just the three new songs.
Those tracks are Miss Saigon’s ‘Why, God, Why?’, West Side Story’s ‘Maria’ and ‘Suddenly’, written by Claude-Michel Schönberg, Herbert Kretzmer and Alain Boublil especially for the filmed version of Les Misérables. Only the last of these has any real interest as something particularly new, although fans will enjoy the personal connection Owen-Jones has to the others (drama school audition song, and first show he was in onstage). Continue reading “Album Review: John Owen-Jones – Bring Him Home”