Paul Taylor-Mills has confirmed the line-up of award-winning and international performers and creatives assembled for next month’s MTFestUK 2021.
Due to open at the Turbine Theatre in London from 17-29 May 2021 before embarking on a digital tour from 31 May until 4 July, the third edition of the annual celebration of new musical theatre will showcase eight new musicals. Continue reading “Cast and creatives announced for MTFestUK 2021”
“Pardon me, is everybody here? Because if everybody’s here, I want to thank you all for coming to the wedding, I’d appreciate your going even more, I mean you must have lots of better things to do, and not a word of this to Paul, remember Paul, you know, the man I’m gonna marry, but I’m not, because I wouldn’t ruin anyone as wonderful as he is”
Sondheim revues can feel two a penny – Putting It Together played the St James just a couple of months ago – but Ray Rackham’s Just Another Love Story has a real ace up its sleeve in the return of 2010’s Best Actor in a Musical fosterIAN award winner Sam Harrison to a London stage. His turn in Salad Days was an absolute treasure and being able to hear him sing again was something I couldn’t resist, so I made my way over to Fulham to the London Theatre Workshop above the Eel Brook pub.
The show is a real labour of love for Rackham, having evolved over several incarnations in the past couple of years and now including over 40 Sondheim songs from the widest range of his back catalogue, delving into rarities just as often as his more popular shows. They’ve been carefully stitched together into a free-flowing musical tapestry which includes solos, duets, medleys and even a bit of choreography to bring the music to life, celebrating the music of Stephen Sondheim by creating their own love story from his work. Continue reading “Review: Just Another Love Story, London Theatre Workshop”
“It’s a no, it’s a yes, it’s a no from me”
One of the most profitable television franchises in the UK, a much-loved comedian writing the book, a £6 million budget…there’s clearly considerable heft behind the latest musical to establish itself in the London Palladium. But the marriage of Harry Hill’s bizarre comic sensibility, Steve Brown’s bright if hollow score and the ITV juggernaut that is the X-Factor makes for uneasy bedfellows, Sean Foley’s garish production eschewing any kind of subtlety for the broadest kind of populist swoop.
I Can’t Sing is a show that constantly wants to have its cake and eat it. Faux-Dermot presenter Liam O’Deary gets a laugh by exasperating at one point “I don’t know why you might be charged” when the phone lines have closed, presumably the response “because they continue to make money for the production company” was mixed in previews. The TV show’s heavy reliance on tear-jerking backstories is a running gag yet nothing dispels the myth that that is the way to get noticed on a talent show. Likewise the qualifications of the panel to be judges of a popular music contest are skewered yet they remain feted as a special brand of celebrity. Continue reading “Review: I Can’t Sing, Palladium Theatre”
“I was surprised at how much it affected me”
In 1961, Viv Nicholson won the equivalent of the lottery jackpot on the pools with her husband Keith in Castleford. Spend Spend Spend is a musical that tells the story, adapted from Nicholson’s own book, of how it was subsequently all frittered away, how money doesn’t always bring happiness and certainly doesn’t grant immunity from tragedy. The action is narrated from the perspective of the older Viv, reflecting back on her life as she rebuilds her life in South Yorkshire as a hairdresser. Originated at the Watermill, this actor-musician production is directed by Craig Revel Horwood and is reprising a successful UK tour this year.
Steve Brown’s score is solid, cohesive despite picking influences from a range of English music styles; Diego Pitarch’s design is simple, an effective replication of a Yorkshire pub which flexibly turns into a bedroom when needed; Revel Horwood’s choreography is attractive though not particularly adventurous, but this really is a show where the whole really is greater than the sum of its parts. There’s a perfect confluence of each element, there’s not a huge amount of dancing for example which makes the routine to the title number an absolute blast and lending it a greater impact. And with its straight-forward direction and the no-nonsense approach to life that Viv and Keith espoused, the shows rockets through the ups and downs of life with remarkable candour in its portrayal of a flawed but aspirational woman. Continue reading “Review: Spend Spend Spend! Richmond Theatre”