A trio of charity singles supporting some great causes over Christmas
Martin Dickinson is releasing a cover of ‘You Raise Me Up’ as a charity single for Shooting Star Children’s Hospice. The track is released on Friday 11th December and features an introduction from the marvellous Brenda Edwards and a choir featuring Kimberley Ensor, Charlotte O’Rourke, Louise Young, Jordan Lee Davies andDanny Whitehead.
Two versions of the single will be available – a full version/radio edit and a music video will arrive on streaming platforms including iTunes, Amazon and Spotify. Continue reading “Charity singles galore”
If you’re still writing your lists for Santa, then Dear Audience could be just what you’re looking for. A theatrical coffee table book filled with over 140 pages showcasing the Arts industry, with exclusive imagery, personalised letters to audiences and much more besides.
There’s a veritable who’s who of stage folk involved, from Sally Ann Triplett, Michael Xavier and Frances Rufelle to Oliver Tompsett, Linzi Hateley and Andy Coxon, and the book has been put together by Sophie Ross and Danny Kaan’s Digi Creative. Pre-orders can be made now and are guaranteed for Christmas delivery.
23 West End actresses who have played Elphaba or Glinda in Wicked have reunited to perform a stunning rendition of the show’s ‘For Good’ to support the Make a Difference Trust Covid 19 Emergency Appeal Fund to support those in the theatre community suffering hardship because of the coronavirus crisis.
Please consider donating either by texting “SUPPORT” to 70111 to donate £5 (UK ONLY) or donate any amount here
All hail the return of Nicola Walker to the stage! Get your tickets for Camelot! Discover the Heart of Darkness! Get your exam in musical theatre singing with ABRSM!
London Musical Theatre Orchestra has announced casting for Saturday’s concert version of Camelotat the London Palladium and there’s still a few tickets going. Packed with some of musical theatre’s best songs, LMTO’s concert version with full orchestra will celebrate the centenary of Alan Jay Lerner’s birth.
The role of Arthur will be played by Olivier Award-winner David Thaxton (Passion / Les Misérables / Jesus Christ Superstar), Guenevere will be played by Savannah Stevenson (Wicked / Aspects of Love / Follies), and Lancelot will be played by internationally renowned opera star Charles Rice (Mozart’s Requiem / The Barber of Seville / Candide). Continue reading “Friday feeling – news aplenty”
“The world is hard, the world is mean It’s hard to keep your conscience clean”
I hadn’t listened to Love Never Dies since seeing its very first preview (oh how we laughed when ALW ran furious from the stalls when the set broke down) and having popped on the concept album that was released in tandem, I was soon reminded why. The not-a-sequel to Phantom of the Opera too often feels like a lazy retread of familiar ground, demonstrating zero musical progression and revealing a stagnation where there once was innovation.
The Coney Island setting undercuts any attempt to get close to the gothic horror of the opera house, the ‘freak show’ elements are desperately tame there. The swerves into rock are ill-advised in the extreme. Lyrically, there’s no ingenuity here at all, the words play second fiddle to the music to their peril And above all, the interpolation of themes from Phantom serve as a constant reminder of what this is not, and also the ultimate folly of the enterprise. Continue reading “Album Review: Love Never Dies (2010 Concept Album)”
I only actually got round to seeing the ‘new’ musical version of Mary Poppins a couple of years ago at the Curve in Leicester, ahead of its mammoth tour, and so the novelty of finally seeing it onstage distracted me a little from the finer details of the score, which merged the original of Robert B Sherman and Richard M Sherman with new songs and arrangements from George Stiles and Anthony Drewe.
And listening to it a couple of times, I think I find myself slightly less enamoured of the interventions. That’s not to detract from the quality of the performances – Laura Michelle Kelly makes for a vibrant Mary, Gavin Lee a perky Bert, and the supporting cast is blessed by the likes of David Haig and Linzi Hateley as the Banks, Rosie Ashe as the nefarious Miss Andrew and Jenny Galloway, Melanie La Barrie, and Claire Machin too. Continue reading “Album Review: Mary Poppins (2005 Original London Cast Recording)”
In his first season as artistic director of Theatre N16, Scott Ellis presents a slew of new writing.
Olympilads by Andrew Maddock, produced by Lonesome Schoolboy and directed by Niall Phillips, reunites the team that presented He(art) at Theatre N16 earlier this year. Theatre N16 executive director (and former artistic director) Jamie Eastlake will present his new show Deadline Day by John Hickman and Steve Robertson: a bitter sweet tale about football, greed and the North-South divide.
Ten emerging artists debut a selection of original and varied works exploring feminism today in Maiden Speech: A festival of fresh feminist voices. Theatre N16 will also produce a new play by Sarah Milton, directed by Scott Ellis.
It appears to be the year of theatrical covers of ‘Do They Know It’s Christmas?’ and this one certainly ramps up the star wattage (and seems weirdly specifically designed for RevStan!) with its cast. Put together by current Les Mis stars Anton Zetterholm and Rob Houchen as part of their Room9 fundraising campaign for WaterAid. They’ve had an Advent calendar of videos (which can be viewed here) and today’s clip pulled together an incredible roster of performers from major theatre shows from across Europe and the USA. Watch the video below to see who you can spot, and then please visit their fundraising page to give what you can for this great cause.
For the longest time, I was sure that I didn’t want to see Chariots of Fire, not least because the hoarding for this Hampstead Theatre transfer into the Gielgud finds it necessary to call it Chariots of Fire on stage, as if it could be anything else in a theatre. But Mike Bartlett, who adapted the film, is a writer I like and a change of cast meant Gabriel Vick, an actor whose charms I, erm, appreciate, was able to tempt me there on the final day of the (curtailed) run. The most arresting aspect of Edward Hall’s production is Miriam Buether’s design which snakes a running track around the front stalls and puts audience members on the stage – it makes for constant visual interest and not just for the men in shorts.
As a story set around the Olympics (Paris 1924), when the production was first announced it felt like a bit of a cash-in to the upcoming Games (London 2012) and sure enough, a West End transfer was announced even before it began. And to be honest, I’m not sure that it really stood up as a piece of effective theatre when separated from all the 2012 buzz. I’ve never seen the film so I wonder if this had an impact, but essentially the thrill of having athletically performed athletic races aside, it was rather dull. Continue reading “Review: Chariots of Fire, Gielgud Theatre”