With powerful performances from Michael Xavier, Josefina Gabrielle and more, plus a sneak peek at the forthcoming Carousel, Episode Seven of The Theatre Channel is a marvellous showcase for Rodgers and Hammerstein
“Bachelor dandies, drinkers of brandies What do I know of those”
Episode Seven of The Theatre Channel is presented in a co-production with Regent’s Park Open Air Theatre, as it focus on the songs of Rodgers and Hammerstein allows us get a taster of their forthcoming production of Carousel. And not only that, there’s illustrative contributions throughout from Ted Chapin, former president of The Rodgers and Hammerstein Society, lending a real weight to an already entertaining episode.
For the most part, stagings are fairly straight-forward, taking advantage of the lush greenery of Regent’s Park. And when the songs are this good, there’s not much need to that much more. Josefina Gabrielle oozes class as she sashays through Allegro’s ‘The Gentleman is a Dope’ and new graduates Tavio Wright and Ethlinn Rose put the bandstand to good use in a gorgeous ‘Sixteen Going On Seventeen’, complete with ecstatic dance break. Continue reading “Review: The Theatre Channel – Episode Seven Rodgers and Hammerstein”
Danny Mac, Kerry Ellis and Layton Williams star in The Theatre Channel – Episode Six: Showstoppers, with added Antonio Banderas
“Let’s go on with the show”
The beauty of so many theatrical things going digital is that it is now harder to properly miss out on something. Episode Six of The Theatre Channel, subtitled Showstoppers, aired last month but I let it slip me by – fortunately it is available on demand so in advance of dipping into its newest Rodgers and Hammerstein tribute, I gave it a shot.
And I’m glad I did, as it very much indulged my inner theatrical nerd by stretching its definition of showstopper way beyond the Phantom and Les Mis classics you might have expected them to plump for. Instead, we get hits from the likes of The Last Five Years, Sideshow, If/Then and Annie Get Your Gun, proving that wonders well beyond the West End hits. Continue reading “Review: The Theatre Channel – Episode Six: Showstoppers”
Adam Blanshay Productions’ renowned The Theatre Channel is back with a jam-packed Rodgers and Hammerstein special. Embracing the return of live theatre, the episode is a co-production with Regent’s Park Open AirTheatre ahead of their unique take on the classic Carousel this summer.
Following acclaim for their spectacular musical-packed digital series, Adam Blanshay Productions’ The Theatre Channel is back with a sixth episode, featuring more theatrical legends and musical magic! The new episode, entitled ‘Showstoppers’, will kickstart proceedings with incredible performances from major West End talent including Danny Mac (Sunset Boulevard; Pretty Woman The Musical), Kerry Ellis (Wicked; We Will Rock You) and Layton Williams (Everybody’s Talking About Jamie; RENT). The series will be available to stream in a new partnership with Stream.Theatre from Friday 30th April, with tickets for Episode 6 now on sale.
Further talent involved includes dynamic sister duo Amber Davies (9 to 5; Love Island) and JadeDavies (Les Misérables; The Phantom of the Opera) as Side Show’s conjoined twins, alongside Katie Deacon (Mary Poppins; An American In Paris) showcasing the original A Chorus Line choreography by Michael Bennett. The track for this stunning rendition of ‘Music and the Mirror’ has been provided by Antonio Banderas’ Malaga-based Theatre company Teatro del Soho, following their acclaimed Spanish-language revival. Academy Award and Tony nominee AntonioBanderas will also be sharing his knowledge of the production in an extra special exclusive interview for The Theatre Channel, featured in the episode. Continue reading “News: All-star musical anthology series The Theatre Channel returns”
Composer, lyricist and performer Matthew Harvey has been announced as an associate artist at the Barn Theatre and to mark the occasion, they’ve released the debut recording of his song ‘Only A Moment’ featuring West End stars including Courtney Stapleton, Tyrone Huntley, Alexia Khadime & Emma Kingston.
The Sorcerer’s Apprentice brushes up well as a classy and confident new British musical
“You must be a young lady of extraordinary power”
Thwarted out of its planned run at the Southwark Playhouse at the beginning of the year, The Sorcerer’s Apprentice has worked its own kind of magic to re-emerge as an online production, available now to stream at stream.theatre over the next couple of weeks. And we should be mighty glad that it has, as it turns out to be a refreshing twist on familiar material, family-friendly without talking down to its audience and ultimately, a really rather lovely new British musical .
Acknowleding the relative paucity of Goethe’s original poem, Richard Hough’s book imagines a much richer world in which brooms can eventually go crazy. The show is set in Midgard, a place up in the far north with a unique and precarious relationship to the aurora borealis, one which is challenged by the desire for economic progress. There, only a single-father sorcerer and his rebellious daughter exploring her own magical potential can save the day, but they can barely talk properly together. Continue reading “Review: The Sorcerer’s Apprentice”
It’s a theatre that reliably creates memorable Christmas productions so it is good to hear that Forever Plaid will return to Upstairs at the Gatehouse from 16th December. The cast features Cameron Burt, George Crawford, Christopher Short and Alexander Zane, with Ian Oakley (musical director) and Jess Martin.
“I have not a bad word to say, about small towns. Per se.”
Expectations were high, how could they not be. Following on from the extraordinary success of Matilda, Tim Minchin’s next foray into musical theatre was to an adaptation of the 90s movie Groundhog Day, playing a two month run at the Old Vic ahead of a presumed Broadway transfer (a move that has had a little doubt cast on it by the withdrawal of major producer Scott Rudin). Now full disclosure, I saw it in its first week thanks to the PWC £10 tickets and the show went for a full month of previews before officially opening, so feel free to take my opinion with a pinch of salt.
For I did not enjoy Groundhog Day, at all. Worse than that, I was bored by it – at least hating something rouses some form of passion, but as Danny Rubin’s book cycled round and round and Minchin’s not unpleasant but in no way striking score dissipated into the ether, I wondered if Rudin might not have had the right idea. There’s a stellar performance from US import Andy Karl as the central Phil, carved out of that leading man material that is particularly American, but for me there was just too little magic emanating from Matthew Warchus’ direction to elevate the material.
Running time: 2 hours 30 minutes (with interval) Booking until 17th September
“Has there ever been a moment
With so much to live for?”
Dammit – one of the key rationales behind my Broadway blowout last winter was seeing actors I didn’t think I’d otherwise have the chance to see in the West End, Glenn Close being chief among them and thus I forked out a pretty penny to see her in Edward Albee’s A Delicate Balance. So naturally her return to these shores was announced a few months later with a reprisal of her Tony Award-winning performance as Norma Desmond in Andrew Lloyd Webber’sSunset Boulevard.
And as with last year’s Sweeney Todd here at the Coliseum too, director Lonny Price and the ENO have returned to the semi-staged format which allows them to mount a bare-bones production and still charge full whack for tickets, prices thus go up to £150. I understand that money has to be made, especially for an organisation in as perilous a position as theirs and they say at least 400 tickets at every performance is available at £25 or under (altitude training not provided though…) Continue reading “Review: Sunset Boulevard, London Coliseum”
And it is mostly the privileged few who’ll get to see this lavish English National Opera production of Sondheim’s oft-revived Sweeney Todd: The Demon Barber of Fleet Street as stalls seats will set you back an eye-watering £95, £125 or £155. Somewhat cheaper seats are available from the upper circle upwards but still…* Lonny Price’s semi-staged production (with its nifty fake-out of a beginning) was first seen in New York in March 2014 but unsurprisingly, given it featured Emma Thompson and Bryn Terfel as Mrs Lovett and the demon barber himself, it declared “there’s no place like London” and has now taken up residence in the Coliseum alongside a cast of nearly 40 musical theatre veterans (and Thompson’s daughter) and a lush-sounding orchestra of 60.
Thompson and Terfel may be the headline names but the real pleasure comes in the luxury casting that surrounds them. Philip Quast and John Owen-Jones bring a richness of vocal to Judge Turpin and Pirelli respectively, Alex Gaumond and Jack North both mine effectively Dickensian depths to Beadle and Toby and there’s something glorious about having the marvellous Rosalie Craig here, even in so relatively minor a role as the Beggar Woman as her quality shines through despite that wig. Matthew Seadon-Young and Katie Hall as Anthony and Johanna are both really impressive too, their voices marrying beautifully as they respond intuitively to the textures of David Charles Obell’s orchestra. Continue reading “Review: Sweeney Todd, London Coliseum”