The National Theatre will return to performances with full capacity audiences from later this month. Additional seating will now be available for performances of After Life from 27 July alongside the previously-announced productions Rockets and Blue Lights in the Dorfman theatre and Paradise in the Olivier theatre, with extra tickets going on sale to the public from Monday 19 July.
Tickets for The Normal Heart, East is East, Manor and Hex on sale to the public from Friday 30 July. Continue reading “News: National Theatre On Sale, July 2021 – January 2022”
I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time taking a turn into the many Open Air Theatre productions he has been witness to. Highly recommended:
Photos: Tristram Kenton
BEST FEMALE PERFORMER AWARD:
Marisha Wallace as Effie in Dreamgirls
Natalie Kassanga, as Diana Ross in Motown the Musical
Patsy Ferran as Alma in Summer and Smoke
Jodie Steele as Chandler in Heathers
BEST MALE PERFORMER AWARD:
Jonny Labey, as Scott in Strictly Ballroom
John Pfumojena, as Okot in The Jungle
Kyle Soller, as Eric Glass in The Inheritance
John McCrea, as Jamie in Everybody’s Talking About Jamie Continue reading “Nominees for the 8th annual Mousetrap Awards”
Casting my eye over some recent musical theatre album releases: Audra McDonald’s live album Sing Happy, Louise Dearman’s latest collection For You, For Me and the long-awaited cast recording for Everybody’s Talking About Jamie
There are few things as well-designed as Audra McDonald’s thrilling soprano to make you happy, so the title of her new album Sing Happy is apt indeed. Her first live album and her first backed by an orchestra (the New York Philharmonic). the gig was recorded just a few days ago on 1st May and no wonder they were so quick to turn it around.
Whether shimmering through Porgy and Bess‘ timeless ‘Summertime’, proudly getting her life in La Cage aux Folles’ ‘I Am What I Am’ or absolutely nailing She Loves Me’s ‘Vanilla Ice Cream’, McDonald’s velvety textured voice is always so exciting to listen to. And the drama of songs like ‘Never Will I Marry’ sound glorious with the richness of the orchestral backing (conducted by Andy Einhorn).
An affinity for Sondheim comes into play twice, a medley of ‘Children Will Listen’ with South Pacific’s ‘You’ve Got To Be Carefully Taught’ and in a showstopping take on ‘Being Alive’, still manages to surprise with the heights to which she lifts the song. An unalloyed, absolute pleasure. Continue reading “Album Reviews: Audra McDonald – Sing Happy / Louise Dearman – For You, For Me / Everybody’s Talking About Jamie cast recording”
At last – everyone will be talking about Everybody’s Talking About Jamie as it struts in the West End in fine form
“Go give the boys boners they won’t know what to do with”
When Everybody’s Talking About Jamie made its debut in Sheffield earlier this year (here’s my review), hopes were high for a transfer, the news of which took a little time to be confirmed, leaving me worried it would suffer the fate of the gorgeous Flowers for Mrs Harris. But this sparkling new show has arrived in the West End and now sits on Shaftesbury Avenue at the Apollo as a proud piece of new British musical theatre and an equally proud piece of LGBT+ storytelling.
Written by Dan Gillespie Sells (music) and Tom MacRae (book and lyric) and adapted from a BBC documentary, Jamie casts off the archetypal coming out and gay bashing stories (though not completely ignoring them) in favour of a main narrative about an out and proud teen who is insistent that he’s going to his high school prom in drag but only belatedly coming to realise that his determination to be fierce has consequences for those who love him. Continue reading “Review: Everybody’s Talking About Jamie, Apollo”
“Sometimes you’ve got to grab life by the balls
You take those balls and tuck ’em between your legs”
We should be talking about Sheffield, and how its place in the fragile ecosystem of British musical theatre has only become more and more invaluable. Nurturing shows like Flowers For Mrs Harris and This Is My Family into existence and taking pride in their understated nature, the venue has also been incubating new writing talent. Well, new to musical theatre at least, for Dan Gillespie Sells is the lead singer-songwriter of The Feeling and Tom MacRae has written several episodes of Doctor Who and sitcom Threesome. And inspired by a BBC3 documentary, a meeting with director Jonathan Butterell and a fairy godmother-like intervention from Michael Ball, the result is brand spanking new musical Everybody’s Talking About Jamie.
And what a joy it is, a breath of feel-good fresh air that can’t help but leave you feeling fabulous. With career advice flying by unheeded, all 16-year-old Jamie is really bothered about as his school-time comes to an end is whether he will attend the school prom as his drag persona Mimi Me or not. And rather brilliantly, the writing hones in on Jamie just as a young man – yes he’s queer and a kween but he’s also a person still finding out the extent of his identity and how to relate to a wider world that isn’t necessarily always set against him. It’s a refreshing take on LGBT+ storytelling, and a sorely needed one, tipping its hat to the tales of coming out and battling against intolerance that have gone before and then finding its own space to parse the consequences of being this fierce in the real world. Continue reading “Review: Everybody’s Talking About Jamie, Crucible”
“I don’t know if you are illusion”
Hoping for a ten from Len and to avoid the dreaded dis-sah-ter from Craig, Baz Luhrmann’s Strictly Ballroom arrives for its UK premiere at the West Yorkshire Playhouse. Best known in its 1992 film version, it actually began life as a play in the mid-1980s when it became big in Czechoslovakia as well as Luhrmann’s native Australia and perhaps appropriately, it is now Drew McOnie who takes the directorial chair, the choreographer-director’s rising star an ideal fit for a musical all about dance.
And what dance it is. We’re in the world of competitive ballroom dancing and we’re treated to a wide range of routines from rehearsals to all-out performances and much inventive work in-between, especially where mirrors are involved. And in all this freedom of expression, there’s a crystal-clear distillation of the story’s message in the sheer joy of dancing for fun and the power of following an individual path. But the show isn’t just dance, it’s words and music as well and there, it is less sure-footed.
Continue reading “Review: Strictly Ballroom, West Yorkshire Playhouse”
“Scrumptious as the breeze across the day”
Who knew that Leeds would be a musical theatre hotspot this December but between The Girls and this Music & Lyrics and West Yorkshire Playhouse production of Chitty Chitty Bang Bang, it’s been the place to be for big, warm-hearted musical fun. This is the first new version of Chitty Chitty… since its original 2002 West End production and its many regional tours but in James Brining’s clever and wondrous adaptation, it’s thoroughly revitalised and as lovely as any cherry peach parfait.
Ian Fleming’s novel was adapted by Jeremy Sams, via Roald Dahl and Ken Hughes’ own reshaping of the story for the cinema, and with a glorious score from the Sherman Brothers (as if they could do any other kind) beefed up with new songs by them as well, it captures much of the Disney noir feel of the film whilst bringing its own depths too. I’d forgotten how much sadness there was in the tale and that’s something Brining never lets us forget, even whilst delighting us with flying cars and fun. Continue reading “Review: Chitty Chitty Bang Bang, West Yorkshire Playhouse”
“Why God? Why today?”
I wasn’t the hugest fan of Miss Saigon first time round as my review from then clearly attests but I’m never one to be entirely closed-minded (though it may not often seem that way…) so when the opportunity to take a friend who had not previously been popped up, I made a return visit to the Prince Edward Theatre. The show is still basking in the glow of recently winning 9 What’s On Stage awards and it is clear that it is attracting a younger and atypically passionate crowd (for a West End show at least).
That passion cuts both ways though as the overexcited group behind us couldn’t hold back from the flash photography and the young woman in front of me was less enthused than the rest of her party and spent most of the show on Facebook. It makes for a different kind of theatre experience when you’re having to do battle with that kind of behaviour but given my continued lack of engagement with the storyline of this particular musical theatre behemoth, it was as much a distraction for me as anything. Continue reading “Re-review: Miss Saigon, Prince Edward Theatre”