Disney’s Olivier Award-winning stage musical Beauty and the Beast has announced the cast to star in the re-imagined and re-designed new production. Staged by members of the original award-winning creative team, Beauty and the Beast will open a UK & Ireland Tour at The Bristol Hippodrome on Wednesday 25 August 2021 (National Press Night: Wednesday 29 September).
Courtney Stapleton and Emmanuel Kojo will play the iconic lead roles, Belle and her Beast, as spectacular new designs and state-of-the-arttechnology fuse with the classic story, bringing the beloved tale to new life. Courtney’s credits include Dear Evan Hansen, Six, Les Misérables and Bat Out of Hell, and Emmanuel is best known for performing in Oklahoma!, Girl from the North Country, Show Boat and The Scottsboro Boys.Continue reading “News: Beauty and the Beast reveals its UK tour cast”
Elton John gets in on the self-produced musical biopic game, meaning Rocketman is gonna take a long long time to get anywhere near the truth
“People don’t pay to see Reginald Dwight… they pay to see *Elton John*!”
I always find there being something a little suspect about the subject of a biopic being intimately involved behind the scenes, that sense that you’re only being permitted to see a carefully curated version of this particular story (cf Tina the Musical, On Your Feet onstage; Bohemian Rhapsody most recently on film). And Rocketman ultimately proves no exception, with Elton John executive producing and husband David Furnish getting a producer credit, and Wikipedia thus offering up a substantial list of deviations from what actually happened.
You might argue that as the film, written by Lee Hall and directed by Dexter Fletcher, isn’t a documentary, it doesn’t need to concern itself with an absolute fidelity to historical record. But I just find it fascinating this need to embellish, so much being smuggled under the umbrella of ‘creative license’ that can’t always be explained away with the ‘needs’ of filmmaking. Things as fundamental as changing the inspiration for Reg Dwight’s stage name from his mentor Long John Baldry to John Lennon, or claiming that ‘Daniel’ and ‘I Guess That’s Why They Call It the Blues’ were the songs he auditioned for with Dick James when neither had been written yet. At what point does that creative license start being straight-up dishonesty? Continue reading “Film Review: Rocketman (2019)”
A trio of West End cast recordings (well, one’s off-West-End…) show that it is sometimes hard to recapture the stage magic
Starting off with the best of this bunch, the Southwark Playhouse’s production of Working might not have seemed like the obvious choice for a cast recording but maybe the lure of a couple of new Lin-Manuel Miranda tracks was a real sweetener.
Truth is, it is the quality of the cast’s performances that make this a fantastic addition to the list of albums you need to hear. From Siubhan Harrison’s impassioned ‘Millwork’ to Dean Chisnall’s gleeful ‘Brother Trucker’, and the highly charismatic Liam Tamne nails both of Miranda’s contributions – the wilful ‘Delivery’ and a corking duet (with Harrison) on ‘A Very Good Day’.
Experience pays though, as Gillian Bevan and Peter Polycarpou take the honours with some scintillating work. The latter’s ‘Joe’ is beautifully judged, as is the former’s ‘Nobody Tells Me How’, both demonstrating the uncertainty that can come at the end of a long career, when retirement doesn’t necessarily hold the joyful promise it once did. Highly recommended. Continue reading “Album reviews: Working / Bat out of Hell / 42nd Street”
“You’re going out a youngster, but you’ve got to come back a star”
In the rush to dole out the five star reviews that seem de rigueur for any big musical these days (22 for An American in Paris so their new poster shouts proudly), there appears to be a willingness to overlook storytelling for spectacle. As at the Dominion, the newly opened 42nd Street is a massive dance show which is undoubtedly hugely, well, spectacular. And it also suffers from not being particularly dramatically interesting, Michael Stewart and Mark Bramble’s book contains hardly any dramatic tension at all – will the show-within-the-show be alright on the night? What do you think?!
I start with this line of thought because as much as I was impressed by 42nd Street, it rarely moved me in the way that Golden Age musical theatre (my favourite genre of all, surprising no-one) at its best does. Based on a novel from the 1930s, the book here – as directed by Bramble – sacrifices any hint of suspense or meaningful character development for the headlong rush from production number to production number. And it just about gets away with it due to the sheer scale of what is being mounted here. 40+ bodies tap-dancing in unison in bucket-loads of sequins – bawdy and gaudy indeed.
“Where the underworld can meet the elite… Naughty Bawdy Gaudy Sporty Forty-Second Street!”
I was lucky enough to be invited to the first preview of 42nd Street at the Theatre Royal Drury Lane and whilst any official opinions about the show are under embargo until press night, I thought I’d give you all some hints and teasers and a little sneak preview (assisted by these beautiful photographs courtesy of Brinkhoff & Moegenburg) through these 42 reasons to see 42nd Street.
“It’s still familiar to me
Sends a thrill right through me”
It’s a funny thing, returning to a show you know so well even if you haven’t seen it for maybe 2 decades. My abiding memory of seeing Greaseas a child was Shane Richie corpsing after accidentally knocking the bosom of a co-star and then being singularly unimpressed that this happened every single night. And since then, I’ve never felt the need to see it on stage, whether on tour or in its intermittent West End appearances where, if memory serves, it became one of the guiltier culprits of stunt casting.
But Nikolai Foster’s musical theatre experience and tenure at Leicester’s Curve as its AD piqued my interest and quenched my doubts sufficiently to make the trip to Rydell High and chang chang changitty chang sha-bop, darn me if it isn’t a rather good time. It does require you putting a measure of scepticism to one side in the show’s questionable message about changing who you are but it does also make you think about who we change for – it’s easy to forget that Danny has already fallen for Sandy by the time she decides to transform, is she changing for him, for herself, or to fit into the Pink Ladies? Continue reading “Review: Grease, Curve”
“So ‘stead of just kicking me why don’t they give me a lift?”
The Menier Chocolate Factory’s extremely well-received production of Funny Girlhas been as much beleaguered as blessed as it wound its way into the West End, garnering acres of extra publicity that the show barely needed given its impressive ticket sales and subsequently announced UK tour. But so relentless has the focus been on leading lady Sheridan Smith and her absences from the show whilst looking after her mental health, that you begin to doubt the maxim that all publicity is good publicity.
Doubtless, a conversation needs to happen about the expectations that are raised when a show is sold on the name of its star. You can argue convincingly that a production is always bigger than its star name, and understudy Natasha J Barnes deservedly got much acclaim for filling in for Fanny but the case is undermined somewhat when the producers put that name above even the show’s title on the publicity (on Broadway, you’re entitled to a refund or exchange if an above-the-title star is off…). Continue reading “Album Review: Funny Girl (2016 London Cast Recording)”