Showing posts sorted by relevance for query ballet. Sort by date Show all posts
Showing posts sorted by relevance for query ballet. Sort by date Show all posts

Tuesday 7 June 2022

Full Cast and Creative Team Announced for Billy Elliot the Musical


Curve has announced the cast and creative team for its upcoming Made at Curve production of Billy Elliot the Musical.

The first new UK production is directed by Nikolai Foster (A Chorus Line, Sunset Boulevard – At Home, West Side Story) and will run at the Leicester theatre for six weeks only from Thursday 7 July to Sunday 14 August. Press night will take place on Thursday 14 July.

The titular role of Billy Elliot, the miner’s son with a passion for ballet, will be performed by Leo Hollingsworth from Nottinghamshire, Alfie Napolitano from Northamptonshire, Samuel Newby from Hertfordshire and Jaden Shentall-Lee, whose family live in Leicestershire.

Billy’s dance teacher Mrs. Wilkinson will be played by West End and Broadway legend Sally Ann Triplett, whose iconic roles include Reno Sweeney in Anything Goes (National Theatre and Theatre Royal Drury Lane) and Young Phyllis in Follies (Shaftesbury Theatre), as well as Martha in the recent Made at Curve UK tour of White Christmas.

Michael, Billy’s best friend will be performed by Bobby Donald, Lucas Haywood, Ethan Shimwell and Leicester’s Prem Masani, who will make his stage debut in the production.

All hailing from the East Midlands, Pearl Ball, Caitlin Cole, Lola Johnstone and Ellie Copping – who returns to Curve’s stage having previously appeared as Susan Waverly in the 2018 Made at Curve production of White Christmas - will share the role of Debbie, Mrs. Wilkinson’s daughter.

Joe Caffrey, who previously performed in the West End production of Billy Elliot the Musical, will join the cast as Billy’s Dad Jackie, while Broadway and West End sensation Rachel Izen will play Billy’s Grandma Edna. Luke Baker (Everybody’s Talking About Jamie, the Made at Curve UK tour of Grease) will play Billy’s older brother Tony and Jessica Daley (recently seen in Made at Curve productions of White Christmas and The Music of Andrew Lloyd Webber) will play Billy’s Mum.

The adult company will be completed by Craig Armstrong as George, Minal Patel as Big Davey, Cameron Johnson as Mr. Braithwaite, Micky Cochrane as Scab, Robin Paley Yorke as Lesley, Christopher Wright as Mr. Wilkinson, Michael Lin as Pit Supervisor, Jonathan Dryden Taylor as Posh Dad, William Atkinson as Older Billy and ensemble, and Steph Asamoah, Tori McDougall, Anna Rossa and Louie Wood as members of the ensemble.

The young company of ballet dancers and boxers, most of which are Midlands-based or have local family connections, will feature Willow Adamson, Maddie Seren Ashley, Oliver Back, Aneeka Kaur Bains, Ella-Rose Blackburn Price, Harvey Clarridge, Lily Corkill, Miley Dalton, Matisse Didier, Isabelle Francis, Ethan Galeotti, Rahul Gandabhai, Isla Granville, Uzziah Gray, Orlaith Rae Hunt, Ava Rose Johnson, Ava Mia Komisarczuk, Kyrelle Lammy, Lienna-Jean Langdon, Tahlia Maddox, Lorcan Murphy, Nesisa Mhindu, Sophia Pirie, Hayden Polanco, Gopal Thacker and Mirabelle Varakantam.

The Made at Curve production of Billy Elliot the Musical will by choreographed by Lucy Hind, with Musical Supervisor and Musical Director George Dyer. The set will be designed by Michael Taylor with costumes designed by Edd Lindley. Also joining the creative team are Lighting Designer and Curve Associate Ben Cracknell, Sound Designer Adam Fisher, Props Supervisor Lizzie Frankl, RYTDS Resident Assistant Director Lilac Yosiphon, Birkbeck Trainee Director Thyrza Abrahams, Associate Choreographer James Berkery, Dialect Coach Elspeth Morrison, Fight Director Kev McCurdy and Head Chaperone Helen ‘H’ Mclaren-Frost.

Children’s casting is managed by Jo Hawes, with adult casting led by Curve Associate Kay Magson CDG.

Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said:

“We are beyond excited to share our extraordinary cast for Lee Hall and Elton John’s astonishing musical Billy Elliot, ensuring this summer in Leicester is truly memorable.
“Billy Elliot is a musical filled with incredible characters, epic ideas and at its heart, the story of a young boy who has the passion and courage to dance down a different path from the one prescribed for him. We are thrilled to be working with our four Billys - Alfie, Leo, Jaden and Sam - and the entire young company - all hugely talented, brimming with energy and representing the very best young talent in the UK today.
“And leading the entire company, theatre legend Sally Ann Triplett takes on the role of the inspirational teacher we all need in our lives, Mrs. Wilkinson. Joining Sally, we are proud to welcome a first-class company to Curve, totally 55 performers! This is by far the most ambitious show we have staged at Curve and there is no better time to present this musical which recognises the value of culture in our society, the importance of expressing your truest self and gives a voice to the courageous working-class communities who are depicted in Lee Hall’s astonishing play. All beautifully framed by Elton John’s electrifying score.”

Based on Stephen Daldry’s BAFTA-winning 2000 film starring Jamie Bell and Julie WaltersBilly Elliot the Musical features music from Elton John and book and lyrics by Lee Hall. The musical first premiered at London’s Victoria Palace Theatre in 2005 and went on to win a host of international awards, including four Olivier Awards and ten Tony Awards.

Tickets for Billy Elliot the Musical at Curve be purchased on Curve’s website www.curveonline.co.uk, over the phone by calling 0116 242 3595 or in-person at Curve’s Box Office.

photo credit: Marc Brenner

Wednesday 5 February 2020

Matthew Bourne's The Red Shoes (UK Tour), New Victoria Theatre | Review


The Red Shoes (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 4th February 2020 by Olivia Mitchell 
★★★★

Originally a dark fairy tale by Hans Christian Andersen, The Red Shoes was adapted for the big screen by Michael Powell and Emeric Pressburger in 1948. It follows a dance company as they tour the world; and the story of two men's obsession with Victoria Page, a dancer who longs to be a star and becomes possessed by her red ballet shoes.

With multiple locations, sometimes indistinguishable characters and intricate meta-narratives, The Red Shoes isn't the easiest of ballets to follow, but Matthew Bourne's production somehow provides a perfect introduction to the art form and takes you on a journey that you don't want to end, as the continuous flow and incredible emotion keep you on the edge of your seat throughout.

What really elevates this show is the way the story forms a distinction between creating and performing art. We see the process of the dressers and choreographers bringing a vision to life in a structured and unified way; whilst, the performers are intensely frenzied and intense. These opposites come together to create a beautifully enchanting show. Just like the real world of theatre, what we see on stage is the graceful swan above the water, but what we miss is the underwater kicking of intense rehearsals, quick changes and personal drama. If anything, The Red Shoes is a fantastic reminder and celebration of the hard work, creativity and energy that goes into putting on a great piece of theatre.


Before the show even begins, magic is created thanks to Lez Brotherson's exceptional design. A luxe red curtain drapes the stage and reveals the varying worlds of The Red Shoes. From monochrome moments to full colour clubs and beaches, every moment feel luxurious and perfectly designed. The costumes are timely and tailored to perfection, with a divine attention to detail that is understated enough to be effective, but not in your face. When Victoria first dances in her red ballet shoes, she wears a flawless costume that highlights the red and welcomes her as a prima. During act two however, the mental and physical toils she faces are mirrored through the demise of her costume which is shredded and faded. These details are effective beyond belief and make this whole production feel superior.

Bourne's company are outstanding. Ashley Shaw is of course, technically wonderful as Victoria, but it's her steely drive and intensity to succeed that make her so enjoyable to watch; especially when contrasted so excellently against her compassion and vulnerability. As Victoria's lover/musician/muse, Harrison Dowzell is pure joy to watch. The way he flies around the stage, and shows his love for music with a genuine sense of revelry can't help but bring a smile to your face.

Victoria's dances with both men are incredibly striking and Reece Causton as Boris Lermontov is utterly shocking. His obsessive and sharp but quiet demeanour is terrifying to witness but completely absorbing.  This is a production where you often find yourself holding your breath as it rarely lets you escape from it's magical grip. The end of act one is one of the most spectacularly effective moments in theatre and really should be experienced.

The entire New Adventures company prove once again why they're so revered in this glorious looking and exceptionally assured production. The Red Shoes is a must see tale of passion, envy and tragedy.

The Red Shoes plays at the New Victoria Theatre until 8th March before continuing its tour

Friday 27 July 2018

In Conversation With... Ian Stroughair aka Velma Celli | Interview

Ian Stroughair aka Velma Celli has the voice of an angel, is as hilarious as they come and truly knows how to put on a show. After seeing Velma Celli's West End Christmas I was completely overwhelmed and have since been following Ian's career (and life) on twitter. His latest venture is Iconic- A History of Drag which will be playing at the Edinburgh fringe...


How did Velma Celli come about?
Well, I have always been a singer much to my siblings annoyance. At age 14 I auditioned for a new musical called ‘Kes’ at The York, Theatre Royal. It was a professional show which needed an ensemble of kids. Much to my surprise I was cast. It was my first time on stage. I joined a Ballet school in York just before my sixteenth birthday. 3 months later my Ballet teacher sent me for an audition for a Theatre School. I got in and started that summer. 

After 2.5 years I was out into the world and working as a singer/dancer/actor. I have appeared in West End and musical productions of Cats, Fame, Chicago, Rent and also appeared on Eastenders as myself…. I know, CAMP!!!!

When I was in Chicago I was asked out for an evening of drinks by the “girls" In La Cage and Priscilla. I bought a dress and some makeup and dragged myself up and out of stage door and met them in Madame Jojo’s. Apparently I ended up on stage belting out some queen and dropping into the splits. I can’t remember this, #gin! When I was leaving the manager asked me back the following week and I have never looked back!


You've had a very varied career, what's your favourite part of performing as Velma and creating your own show?
The freedom. When you are in a West End musical it's very strict. You are directed to give the same show every night and there is little room for your own creativity and interpretation. Velma is mine and she can do whatever she wants. Sing whatever songs she like. It’s very freeing!


You're taking your show, Iconic- A Brief History of Drag to Edinburgh. What can people expect from the show? 
Iconic - A Brief History of Drag is a journey through my most favourite moments in drag history, whether it be music, pop culture, film or theatre it's those Iconic unforgettable drag events that inspired me to do drag and cultivate me into the queen I am now. They can expect to laugh (a lot) cry (a bit) and learn a bit about drag, things that people may not know. The past hero’s. A blooming good night if anything else!


Can you sum up A Brief History of Drag in 5 words?
Heartfelt, funny, camp, belt and emotional 


You have a stunning voice. How do you keep it strong and healthy whilst facing the strains of touring?
Thank you. Lost of water and vocal rest. Healthy food!


If you could go back to any era, when would you go to and why?
I would have to say the 1960’s. I believe I am quite the hippy! 


What's your number one piece of advice for aspiring performers who would like to carve their own, unique career?
WORK HARD. Work harder then repeat. This business is not for the faint hearted. It’s tough at times and the competition is high so armour yourselves with as much knowledge and learn as many skills as possible. Bring something to the party too. The odds of getting cast are extremely slim so I encourage all my students to write their own material and / or shows.

Thank you to the incomparable Ian Stroughair/Velma Celli for your amazing advice and story. Iconic- A Brief History of Drag will be at the Edinburgh Fringe from the 1st-26th August, at Assembly Checkpoint.  

Interview by Editor, Olivia Mitchell

Wednesday 3 August 2022

Billy Elliot the Musical, Leicester Curve | Review


Billy Elliot the Musical
Leicester Curve 
Reviewed on Saturday 30th July 2022 by Hope Priddle
★★★★

After a staggering eleven years in the West End, Billy Elliot the Musical returns in an ambitious new Made at Curve production, directed by Nikolai Foster. Billy Elliot is the uplifting tale of a working-class boy from northeast England who discovers a love of dance during the Miners’ Strike of 1984/85. With a grieving family and embittered community at the heart of this narrative, Billy Elliot celebrates the vital, restorative potential of art and the value of coming together. With many of us bearing witness to the rising cost-of-living, an assault on the arts and a summer of strikes, it is no surprise that this musical - inspired by Stephen Daldry’s legendary film - continues to resonate.

While this Made at Curve production features book and lyrics by Lee Hall, and music by Elton John, it marks a radical break from the original production, with warmth and intimacy replaced by an allover grittier aesthetic. Tender moments such as The Letter were sadly eclipsed, not least by the Curve’s cavernous stage. However, this vastness is extremely effectual in capturing Billy’s loneliness and the colossal feat ahead of him.

Alongside Ben Cracknell’s impressive lighting design, Michael Taylor’s set is highly effective. Though the severe industrial scaffolding lacks a homely sense of place, it intimates towards a more universal working-class experience. The use of a mineshaft as Billy’s home is inspired, whilst moving railings are used to great effect in numbers such as Solidarity and Angry Dance, creating cage-like prisons which mirror the claustrophobic, limited world from which Billy is trying to break free.

The score sounds bigger this time around, with jazzy synthesized accompaniments a welcome addition. The tempo has been upped leaving several numbers feeing rushed. He Could Be A Star, a heartbreaking number in which Billy’s father desperately contemplates crossing the picket, is not given time to breathe, whilst Born to Boogie is treated as brief musical interlude rather than a tiring ballet bootcamp. Nevertheless, the ensemble moments swell and soar. The Stars Look Down is an extraordinarily emotive and impactful opening number, ushering in what remains a truly triumphant score.

Ironically, dance is no longer the focus of this production. Breathtaking ballet routines have been removed in favour of more instinctual and age appropriate movements. It is hard not to miss Billy furiously tapping against a barricade of riot shields with razor sharp precision during the Angry Dance and Hind’s choreography does feel a bit flat. However, this earthly and grounded style still makes sense in context.

The adult cast are incredibly strong; Joe Caffrey reprises his touching and empathetic performance as Billy’s grieving father, while Luke Baker delivers a passionate turn as brother Tony. Sally Anne Triplett offers just the right measure of chain-smoking cynicism and tough love as Mrs. Wilkinson. Lastly, Leo Hollingsworth and Bobby Donald were charming, cheeky and confident as Billy and Michael, capturing our hearts with a magical friendship that was a true delight to watch.

Changes aside, Billy Elliot the Musical still packs a mighty punch. Made in Curve have done an impressive job at reimagining this well-loved musical and brought with it a much needed celebration of determination, difference and daring to dream.

photo credit: Marc Brenner

Tuesday 31 January 2023

Cast for Cake- The Marie Antoinette Playlist Announced


The brand-new musical, come gig, come ballet is from some of the most exciting figures in modern British Theatre, with an Olivier Award winning creative team including Olivier Winner’s Drew McOnie(In the Heights; Jesus Chris Superstar) and Morgan Lloyd Malcolm (Emilia - The Globe) 
 
Cake will be venturing on a UK tour from 18 March 2023, starting at the MAST Mayflower Studios, Southampton.  
 
Casting will include, fresh from her magical run as Mary Poppins on the West End, Zizi Strallen (she/her) stars as Marie Antoinette, with Renée Lamb (she/her), Catherine of Aragon from the original cast of SIX, starring as Jeanne.
 
The cast is completed by B Terry (they/them) as Nicole, Travis Ross (he/him) as Cardinal with Ope Sowande (he/him) and Megan Bryony Gibbs (she/her) as the ensemble and Lukas Hunt (he/him) and Amie Hibbert (she/her) as swings. 
 
Cake combines music with 18th century France to retell a story that sparked a revolution. When Marie Antoinette married King Louis, her reputation was already tarnished by gossip. But when she is implicated in a crime to defraud the crown jewellers of a diamond necklace, it is not just her reputation at stake, but the monarchy and France itself.

Originally commissioned by Paul Taylor-Mills (Heathers & In the Heights), Cake promises to re-define our expectations of what a musical can be.

Paul has said, “We are delighted to be partnering with 5 of the leading regional theatres to present a development production of this brilliant new show. I first commissioned this at The Other Palace five years ago and am delighted to be working with some of the best theatre makers in Drew McOnie, Morgan Lloyd Malcolm, Tasha Taylor Johnson and Jack McManus. The show started life at our first MTFestUK and it’s great to see it come to production.”

Cake is written by Morgan Lloyd Malcom directed and choreographed by Drew McOnie with songs by Tasha Taylor Johnson and Jack McManus, casting by Will Burton CDG and based on an idea byPaul Taylor-Mills.