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.
Brass the Musical at the Union Theatre is a powerfully moving celebration of sacrifices made, of service offered, of music itself – beautifully done
“Just until our lads come back”
There’s a neat symmetry to the life of Brass the Musical thus far. Originally commissioned by the National Youth Music Theatre to commemorate the centenary of the outbreak of the First World War, its professional London premiere now marks the Armistice Centenary. Benjamin Till’s musical, with additional lyrics from Nathan Taylor and Sir Arnold Wesker, thus serves as a powerful tribute to those who served, both at home and on the frontline.
What is particularly gorgeous about Brass is how it is suffused with the joy of music. Its power to bring people together (as in the characterful ‘Forming a Band’), its potential to lift spirits (the marvelous storytelling of ‘Whistle Billy’), its ability to express something deeper beyond just words (the haunting vocalese at the trenches). And as an expression of the musical theatre form, it works beautifully in deepening an already profoundly moving piece of history. Continue reading “Review: Brass the Musical, Union Theatre”
“Failure to do this will result in your fellow inmates being punished”
How far can immersive theatre push you? How far should immersive theatre push you? The disclaimer for Les Enfants Terribles’ Inside Pussy Riotwarns us it is “not for the faint hearted, come prepared to demonstrate and stand up for what you believe in!”. But given that it is trying to give audiences a taste of what it is like to be on the wrong side of a totalitarian regime, from arrest to trial to incarceration with a bit of forced labour in there for good measure, there’s a limit to how far they can actually go.
Marking the 100th annversary of the Russian Revolution, Inside Pussy Riot revisits the experience of Nadya Tolokonnikova and her post punk, feminist art collective colleagues in Pussy Riot, who were convicted and sentenced to two years imprisonment for performing less than 40 seconds of an anti-Putin song in a Moscow cathedral. From the opening moments when you’re invited to pick a balaclava (a range of colours available) to the climactic encouragement to raise your voice in protest, there’s quite the journey ahead. Continue reading “Review: Inside Pussy Riot, Saatchi Gallery”
One of the more worthwhile festive releases this year is also pleasingly one of the more interesting. The Make A Difference Trust brings together the British entertainment community and its audiences to raise funds to support people living with HIV and AIDS and with The West End Goes MAD For Christmas, has brought together a host of new musical theatre champions to offer up a compilation of Christmas songs that offer a fascinating alternative to the age old carols and standards that proliferate at this time of year.
And producers Nikki & Joe Davison at Auburn Jam Records have done a brilliant job in matching composers to performers across the eight songs, curating pre-existing tracks and new, and shining a light on some serious talent. The plaintive simplicity of Stuart Matthew Price’s self-penned ‘This Christmas’ is characteristic of much of his oeuvre of classic songwriting, Gina Beck’s crystalline soprano dances beautifully around the timeless melody of Alexander S Bermange’s ‘Praying For You’ and Nadim Naaman‘s ‘A Soldier’s Christmas’ treads an equally emotive path, sung charmingly by Gerónimo Rauch and Naaman himself.
Much of the attention on London fringe musicals goes to the pocket powerhouses south of the river like the Union and the Landor but some of the most exciting productions are to be found above a pub in Highgate. Under John and Katie Plews’ artistic directorship, they have regularly secured the rights to host the first London fringe productions of such massive shows like Buddyand Guys and Dolls and have done so to great acclaim. And they’ve done it once again by putting on the fringe premiere of Gershwin songbook musical Crazy For You, last seen here at the Open Air Theatre and then the West End.
Although based on the Gershwin production Girl Crazy, this is a relatively new show that was reconceived to feature more gems from the Gershwin back catalogue. Ken Ludwig’s book is a frothily light thing, a boy and a girl from different worlds fall for each other even though his family bank is about to close down her family business, including a theatre, and the only way to save the day and any chance of love is to put on a show. It’s silly but charming, wit and warmth are the order of the day and John Plews’ production never loses sight of that. Continue reading “Review: Crazy For You, Upstairs at the Gatehouse”