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Thursday 14 December 2017

In Conversation with Jonathan Andrew Hume | Alice in Winterland | Interview


Jonathan Andrew Hume played the lead role of Simba in The Lion King and is set to star in the Rose Theatre's production of Alice in Hinterland, alongside the Rose Youth Company. Jonathan spoke to Rewrite This Story about the show and all things Christmas...

What have some of your career highlights been?
I have been blessed with some great career opportunities. Two of my career highlights have been playing the lead role of Simba in Disney’s The Lion King in the West End, and also working with Emily Blunt, Lin-Manuel Miranda and director Rob Marshall in the upcoming movie Mary Poppins Returns.


What attracted you to this production of Alice in Winterland?
Our director Ciaran McConville has written a great take on Alice’s adventure. After reading excerpts of Ciaran’s script adaptation for my audition, and hearing Eamonn O’Dwyer’s great song the Blue Caterpillar sings, I knew this was going to be a fun project to work on, and I’m so glad to be a part of it.


What can we expect from the show?
You can expect a brand new and exciting adaptation of Lewis Carroll’s iconic story. A thrilling and sometimes mad adventure into Wonderland, taking you on a journey of Alice’s self-discovery and with the help of her new-found friends, realisation of what strength and power lies inside her.


You play the Caterpillar/Knave, what’s the funnest part about playing these roles?
Playing the extravagance and edgy lethargies of the Blue Caterpillar are the most fun. He’s such a great character to play. However, quite frankly, playing the Knave is also fun because I play a villain! I’ve always wanted to play one of the bad guys, and there is a certain satisfaction in getting “booed” by the audience at the end. You definitely know you’ve done your job properly... or at least I hope that’s what they’re “booing” for!!!


Who in the show do you think is most like their character?
I think our four talented young actresses sharing the role of Alice (Ellie Clark, Madeline Lynes, Gaia Mondadori and Hannah Wilkinson) have become most like their characters. All four of them are living the role each night they go on, and they do it with ease. Seeing them grow as actresses through this rehearsal process has been a privilege to watch. Their acting choices are natural and personal, and they make Alice so relatable that you cannot help but feel with her, the love, anguish, pain and joy she goes through before your eyes.



When it’s 'Time for Tea', what’s your biscuit of choice?
Oooh, that’s a hard one! I’d probably have to say it’s a tie between an Oatmeal and Raisin Cookie and an Oreo.


On a scale of 1-10 how much of a Christmas lover are you?
Probably a '9’. I love spending time with family, gift giving, singing carols and getting into the spirit of Christmas. I take away one point because as beautiful as winter can be, especially when snowing, I’m not the biggest fan of the cold!


If you could spend Christmas with anyone dead or alive (other than your family), who would you choose?
Wow! Another hard question. I think I would actually like to spend Christmas with the Hatter from the show, because it would definitely be the craziest, funniest (and messiest) Christmas dinners ever!


Give us your best sales pitch as to why people should come and see Alice in Winterland!
Alice in Winterland is an extraordinary Christmas show which people both young and old will enjoy. Be ready to be taken on an adventure into Wonderland that is like no other. With enchanting scenery and costumes, extraordinary puppetry and memorable songs, all put together by an amazingly talented creative team and performed by a brilliant cast!


A huge thank you to Jonathan for taking the time to do this interview. Alice in Winterland runs at the Rose Theatre until January 7th.

 Interview by Olivia Mitchell, Editor

photo credit: Mark Douet
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Thursday 10 May 2018

Beautiful: The Carole King Musical (UK Tour), New Theatre Oxford | Review


Beautiful: The Carole King Musical (UK Tour) 
New Theatre Oxford
Reviewed on Tuesday 8th May 2018 by Nick Fisher
★★★★

Carole King rightly occupies a place in the pantheon of great American songwriters and this lively production of Beautiful: The Carole King Musical, is a fitting tribute to her musical legacy. 

The performance begins with King, propelled to stardom by her solo album ‘Tapestry’, sitting at her piano in Carnegie Hall. All too quickly, we are taken back to her teenage years, living with Mum in a Manhattan apartment striving to become a songwriter. She is revealed as a slightly awkward yet determined teenager who meets her future writing partner and husband, Gerry Goffin, when studying education at college. After she becomes pregnant, the pair marry and embark on their career as hit-makers for Don Kirsher known as the ‘man with the golden ear’ who made stars of King, Neil Diamond and Neil Sedaka amongst others. 

We are taken at a rapid clip through some classics including, ‘Some Kind of Wonderful’ originally performed by the Drifters, ‘Will you Love Me Tomorrow’ by the Shirelles and ‘You’ve Lost That Lovin’ Feeling by Barry Mann and the Righteous Brothers. The show portrays vividly the look and feel of Kirshner’s song-writing factory, a rabbit warren of cubicles inhabited by young writers, desperate to write hits for the Billboard 100. At the factory, the pair meet friends and competitors, lyricist Cynthia Weil and composer Barry Mann. The witty and smart Weil and the comic, charming Mann, provide a light-hearted secondary duo who are destined to live happily ever after. Indeed, the pair have been married since 1961 which is in sharp contrast to King and Goffin who both remarried 3 times following their divorce. In fact, it is during this intensely productive period at the factory when the first cracks appear in their relationship. Goffin’s desire to stay out every night to immerse himself in the music scene conflicts with King’s desire for domesticity coupled with an intense desire to make it as a songwriter. 


In Act 2, we are taken, albeit it at a slightly slower pace, from 1962, with ‘Chains’ initially released by the Cookies and in 1963, covered by the Beatles. We are then treated to some classics, ‘Walking in the Rain’, and ‘It’s Too Late’, culminating in a wonderful rendition of ‘(You Make Me Feel Like) a Natural Woman’ originally recorded one year before her divorce from Goffin in 1968. The final scene takes us back to the Carnegie Hall show in 1971, the year when King released her seminal solo album, Tapestry, one of the best-selling albums of all time. It is at this point when Goffin makes a final appearance. The pair had lost contact since King’s move to Los Angeles in 1968 and Goffin takes the opportunity to express his appreciation of how much she had achieved in her career. It doesn’t matter if this actually happened, it portrays a deep love and respect for the woman and the writer. In any case, in a statement following his death in 2014, King described Goffin as her ‘first love’ and how he had a ‘profound impact’ on her life. 

Overall, this is a rip-roaring musical roller coaster ride. The quality of the music, led by Musical Director Patrick Hurley, really cannot be faulted, from the tight harmonies and wonderful choreography in Act 1 to the evocative songs in Act 2. This is not a history lesson in any sense even though this is a period rich in social and political change including the racial integration of the University of Alabama in 1963 and the height of the Vietnam War in the early 70s. Was King affected by these momentous events and did it affect her music? Almost certainly, but at the end of the day it was Goffin’s lyrics which serve as a narrative for the time. 


This brings us to the performances. Bronté Barbé is superb as Carole King. Her voice is captivating and her performance of Natural Woman was incredibly moving and captured perfectly a tumultuous stage in King’s marriage to Goffin. Playing Goffin was Kane Oliver Parry who had a palpable chemistry with Barbé. Nevertheless, his Brooklyn accent was unconvincing and needs more work. 

Almost eclipsing Barbé was Amy Ellen Richardson as Cynthia Weil. She brought maturity and depth to the role including stand-out performances in ‘Walking in the Rain’ and ‘He’s sure the Boy I Love’. Her partner, Barry Mann was sensitively played by Matthew Gonsalves and he introduced some moments of real humour. 


Carole King will always be a shining star of world music. She has written or co-written over 400 songs recorded by artists such as Aretha Franklin, Neil Diamond, Diana Ross and the Beatles. She has been inducted into the Songwriters Hall of Fame, recorded 25 solo albums, the second of which, ‘Tapestry’ remained at the top of the Billboard 100 for a record-breaking 15 weeks. Come to this performance, stick some dimes into the jukebox and join the baby boomers dancing in the aisles in celebration of a cultural icon. 

Beautiful: The Carole King Musical is at the New Theatre Oxford until 11th May 2018
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Thursday 21 December 2017

Hamilton, Victoria Palace Theatre | Review


Hamilton
Victoria Palace Theatre
Reviewed on Thursday 21st December 2017 by Olivia Mitchell 
★★★★★

It's worth the hype.

Like many other musical theatre nerds, I jumped on the Hamilton bandwagon just over two years ago and haven't stepped off since. Swept up in the unique style of the show and the inclusivity of it, I fell in love and couldn't wait until I would finally see Lin Manuel Miranda's musical about the rise and fall of the USA's first secretary of the treasury, Alexander Hamilton.

During the past few months, while the show was being primped and preened for its arrival at the newly renovated Victoria Palace theatre, it has been receiving more press and excitement than Prince Harry's engagement! Even as a huge fan and supporter of the show, I was getting to the point where I thought there was no way it'd be worth it. Then I saw it...

Die-hard Hamilton fans are probably expecting everything to sound identical to Leslie Odom Jr.'s Burr, Lin Manuel Miranda's Hamilton or Philippa Soo's Eliza and we can't help but compare to what we're used to from the OBC recording but thanks to the power and brilliance of the London cast, all these comparisons fade away. The entire company pump in soul, heart and skill to the glorious narrative created by Miranda, musical supervisor Alex Lacamoire and director, Thomas Kail.

Giles Terera is charismatic and sharp as Aaron Burr, bouncing brilliantly off of the suave, likeable Jamael Westman as the titular, Alexander Hamilton. The two are perfect as the historical frenemies as Burr begins to resent Hamilton for rising in the ranks of office. Giles has some of the most iconic moments of the show with some truly show-stopping vocal sections, especially in the epic 'Wait For It' and jazzy, 'The Room Where It Happens'. Jamael tackles the huge role with skill and ease, showing his brash side in big rap numbers, as well as his more emotional, Shakespearean side towards the end in his final monologue and the heart-wrenching 'It's Quiet Uptown'.

Whilst these two talented men lead the cast, there is not a weak link anywhere. Powerhouse Rachel John is sassy and strong as the heartbroken Angelica; Rachelle Ann Go manages to be innocent but powerful at the same time in her performance of Eliza who falls for, is betrayed by and eventually forgives the man she loves. Christine Allado as "and Peggy" is particularly humourous as she bounds on stage with a childlike quality in the opening and is contrastingly seductive as Maria Reynolds in act 2 when she belts out 'Say No To This' with ease and drama.

West End newbie, Tarinn Callender is suave as Hercules Mulligan and full of dry humour as James Madison. Jason Pennycooke is frantic, hilarious and all round brilliant as Lafayette/Thomas Jefferson. His fast paced, faultless rap is perfectly balanced with his acting and smooth movement around the stage and he's certainly a stand out. Obioma Ugoala wows with his vocals as he belts 'One Last Time' and as John Laurens/Phillip Hamilton, Cleve September is strong whilst maintaining his childlike quality. Michael Jibson as King George steals every scene he's in. When I say he's hilarious, I mean laugh out loud, unforgettable moments hilarious. Every movement is perfectly thought out and he milks each line with precision.

The ensemble are sharp and outstanding, with In The Heights alumni, Courtney-Mae Briggs capturing my attention throughout. The precise choreography is one of the ultimate parts of the show, it's sharp as sharp can be and mirrors the action to perfection. Like the music, each aspect of on stage drama is reflected by style. Hip-hop, operetta, lullaby's and more embelish the spirit of the moment.

 I could continue to rave about this show but I fear that could turn into a full dissertation so here's where I'll end. Hamilton is truly groundbreaking, it challenges the status-quo, brings a freshness to  the West End and breaks conformity by casting people of colour and challenging racial tensions. The show embodies representation in every way and is a spectacle to behold.

 Hamilton lives up to the hype and is unforgettable. It's cool, unique and diverse as it subverts the typical language of storytelling. Find a way to get a ticket and see this show!

 photo credit: Matthew Murphy
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Thursday 14 March 2019

Madagascar the Musical (UK Tour), New Victoria Theatre | Review


Madagascar the Musical (UK Tour)
New Victoria Theatre 

Reviewed on Tuesday 12th March 2019 by Glenys Balchin

★★★½ 


Madagascar the Musical was a perfect family night out, full of fun for the young audience as they tapped, cheered and danced their way through the story, against the backdrop of a damp and drizzly night outside the New Victoria Theatre. It has to be said, that many of the adults accompanying their young charges were enjoying the performance of the energetic cast just as much; with the cast bringing alive the animal inhabitants of New York Zoo and the story of their escape into the wilds of Madagascar.

Having seen other Dreamwork productions: The Lion King and Shrek on both film & stage, I was not sure what to expect of Madagascar and unfortunately for me this did not reach the same pinnacle as the others.  This was due to lack lustre look of some the main character costumes as well as having pre-recorded music rather than a live band. 

The puppetry was well executed and the presence of a human controlling them soon disappeared and captured the spirit of your imagination. A stand out for me was Melman the Giraffe, whose  characterisation by Jamie -Lee Morgan was thoroughly enjoyable and he delivered an excellent performance.


 Although, the show was packed full of songs, none of them were very memorable. However, the dancing and abundance of energy displayed by all the cast members did not go unnoticed and I enjoyed the choreography, especially the exuberant 'Move It', but on the same note it was a little bit repetitive.

The plot itself is a little thin on the ground but the uncomplicated storyline makes it easy for small children to follow and remain enthralled by plenty of packed action fun and dazzle. Act two was more animated than the first, mainly thanks to the irrepressible, vigorously imaginative artistic style of Jo Parsons playing King Julien.

A little older than many of the children at the theatre, my companion's mane attraction for seeing the show was Matt Terry, so she was a little disappointed he was not playing Alex the Lion at this performance. However, I asked her verdict about the musical and she told me that whilst she had preferred The Lion King, she thought her younger sister (9) would love Madagascar. At the mature age of 14, she enjoyed it but was too cool to get up dance in the aisles with the other children and would certainly not have been happy if I had!



Her conclusion was that it is a song filled production, that features a set  that is inventive and all flows well. She loved how the characters were portrayed, in particular the Lion and the Hippo, and she thought that the voice of Marty was the same as the Zebra in the movie.

 Overall the production went down well with the younger members of the audience and many of the adults that were there. For me, it lacked soul or a pinnacle to the production, due to repetitive choreography, unmemorable songs and basic costumes, however, the cast were pretty brilliant overall.

 Whilst its a three and a half out of five stars for me, I'm sure many of the small children would disagree and give it a full five stars!

photo credit: Scott Rylander
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Friday 25 May 2018

F*cking Men, King's Head Theatre | Review


F*cking Men
King's Head Theatre 
Reviewed on Thursday 24th May 2018 by Shaun Dicks
★★

I’m a massive advocate for LGBTQ+ theatre and the King’s Head Theatre is a fantastic platform for LGBTQ+ art. It is a venue that I whole heartedly support. It produces exciting work – like Strangers In Between, which I previously reviewed - and is really a benchmark for pub theatres. The King’s Head is currently home for the show F*cking Men, written by Tony Award winning writer Joe DiPietro. The show follows a multitude of characters that are interwoven into multiple narratives, exploring monogamy, lust and cruising. 

In recent times I’ve come across the quote of ‘Happiness writes white,’ but in a play where there is no happiness, simply sex, the word I would use to describe F*cking Men is beige. Don’t get me wrong, there are a few redeeming qualities that I commend. One of the shows biggest pluses is its characters. In mainstream media there is a overwhelming amount of archetypal gay characters that only represent a small cross section of the community; here there is a smorgasbord of characters covering much of the gay community. Another redeeming quality is the performance of the actors, they do the best they can with what they have been given. 


Despite these redeeming qualities, there are too many negatives in this show that far outweigh the positives. As I was reflecting on the show after I’d seen it, I couldn’t decide whether it was brave or demoralising that the show was so full frontal with its exploration of the modern gay relationship and cruising culture. Ultimately, I concluded that it’s demoralising. F*cking Men takes a metaphorical dump on one of the rights the LGBTQ+ community have fought for, monogamy. 

DiPietro presents men of the gay community as lust driven, predatory creatures who can’t hold down a monogamous relationship. It is repeated throughout the script that one of the bonuses of being gay is that we aren’t bound by monogamy. The show is also hampered by it’s painstakingly long transitions from scene to scene, and when we finally get to a scene, they are very vague and basic; the actors spend more time taking their clothes off than they do act. We were given no time to invest into characters, so when heartfelt moments happened, I felt nothing. 

I simply don’t understand why most LGBTQ+ shows insist on including such vulgar nudity. I’m no prude but I don’t come to a theatre to stare at a chiselled man and his penis. I implore all who are writing LGBTQ+ theatre, raise your taste level, we will rise with you. 

I urge you to go and support the King’s Head Theatre, it is an incredible venue with a very bright future but do it in ways other than seeing F*cking Men. It’d be a waste of your time and money. I’m not angry, I’m just disappointed. 

photo credit: Christopher Tribble

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Wednesday 28 February 2018

Beautiful: The Carole King Musical (UK Tour), New Victoria Theatre | Review


Beautiful: The Carole King Musical (UK Tour) 
New Victoria Theatre 
Reviewed on Tuesday 27th February 2018 by Olivia Mitchell 
★★★★★

The New Victoria theatre was a buzz last night as an excited audience took their seats to take a trip down memory lane with the sentimental songs of the 60s. I must admit when I sat down I wasn't really a Carole King fan having never really been exposed to her music, but two and a bit hours later I was well and truly a lover of all things Carole and have been playing Tapestry on repeat all morning. 

Beautiful opens with King (played expertly by Bronté Barbé) sitting alone on stage behind a piano and singing her heart out to a packed audience at Carnegie Hall. Suddenly the piano moves out of view and we are thrown into a Brooklyn apartment where a 16 year old Carole with big dreams and songs to sell arrives on stage.

From here we follow Carole through the ups and downs of her life from the energetic teen to mother, wife, divorcee and Grammy award winner. From the opening scene to the very end, Bronté's Carole is endearing, humourous and engaged with the audience. Her incredible voice, acting and spot on accent hold the show up and our hearts really ache whenever Carole experiences a set back.


The show mainly focuses on the relationship between Carole and her husband/lyricist, Gerry Goffin. Played by Kane Oliver Parry, the character is raw and passionate and the chemistry between the pair is compelling to watch. Alongside we see their best friends and writing rivals, Cynthia Weil (Amy Ellen Richardson) and Barry Mann (Matthew Gonsalves) who are comedic as well as being fantastic singers. The rendition of their hit 'You've Lost That Loving Feeling' was a standout as well as a clear audience favourite.

Beautiful cleverly transitions from the song-writing to the actual performance with the artists appearing to perform the songs as soon as the final chords and lyrics were written. These moments were humourous as well as being genuinely good and allowed the audience to revel in the delightful music by the likes of The Drifters and The Shirelles.


This production is indeed Beautiful and the perfectly moving, magical, sentimental way to spend a few hours. Myself, my mum and those around us found ourselves smiling throughout, just proving that this show has what it takes to enrapture audiences of all generations.  The talent of Carole King is undeniable and I can't help but think that no 2000s artist will stand the test of time to have a musical made about them in the future! Whether you think you're a fan of Carole or not, you're sure to recognise many of the hits and leave feeling elated, with a new sense of love and appreciation for the songwriting industry.

Beautiful runs at the New Victoria Theatre until March 3rd before continuing it's tour.
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Wednesday 25 October 2017

Beautiful: The Carole King Musical (UK Tour), Grand Opera House, Belfast | Review


Beautiful: The Carole King Musical (UK Tour)
Grand Opera House, Belfast
Reviewed on Tuesday 24th October 2017 by Damien Murray
★★★★

The major appeal of this extremely popular biographical musical is that its subject, Carole King, really is a cross-generational artist, performer, singer, songwriter … and her eventful – but not always successful or happy - life provided a human story that connects to many of its audience every bit as much as her commercial and popular songs.

As a jukebox musical, this show can’t fail to impress with a score composed of classic hit after classic hit from all periods of King’s phenomenal career as both a writer/co-writer and, eventually, as a performer.

While the bulk of the hits are from her younger days, this show is a particular crowd-pleaser for anyone born in the late 40s and early 60s, but – so commercial are the songs – it also manages to successfully cross the generations to engage even with the youth of today who may be hearing them for the first time.

However, there is a bit more depth to this musical than just the songs, as King’s story is that of a young and ambitious teenage girl, who never set out to be a singer and who was as surprised as everyone else by her own success.

According to music impresario, Donnie Kirshner – perfectly played by Adam Howden as a no-nonsense boss who knew the business and who demanded results– the key to her success as a writer was that she was a teen who wrote songs for teens and she was a girl who wrote songs for girls… and it was teen girls who were buying most records at that time.


Like a typical Brooklyn teen with no fear, King – played so well by understudy, Leigh Lothian, in the absence of Bronté Barbé (due to a family bereavement) – jumped head first into the competitive music game as a staff writer for Kirshner’s songwriting business, 1650 Broadway, where she met her perfect husband and co-writer, Gerry Goffin, plus life-long friends and fellow song-writing team, Cynthia Weil and Barry Mann, with each providing friendly rivalry measured in ‘hit’ scoring over one another. This, of course, was a great excuse to also feature many of this duo’s hit successes, too, including You’ve Lost That Loving Feeling, Walking In The Rain and We’ve Gotta Get Out Of This Place.

In the lead role, Leigh Lothian, captured all of King’s emotions, moods, weaknesses and strengths, from being an ambitious and fearless teen, to coping with a teenage pregnancy, an unfaithful husband, her husband’s nervous breakdown and the eventual breakdown of her marriage, displaying strength, patience, forgiveness and loss of confidence before re-inventing herself as one of the world’s most successful female singers. 

Kane Oliver Parry, as Gerry Goffin, didn’t quite convince me that he was so troubled by his domestic and work pressures that they drove him into the arms of other women, but he displayed the kind of charm that the character must have had to keep King by his side for so long after his first affair and to be able to initiate so many affairs in the first place. I loved the chemistry between Amy Ellen Richardson’s pushy, confident and patient Cynthia Weil and Matthew Gonsalves’ Barry Mann; the impatient and always ailing hypochondriac.


This was a well-dressed production with authentic fashions of the day stretching right down to the girls sporting ‘Alice Bands’ on their heads, while the well-used, dual-level set helped to keep the pace fast with slick and quick scene changes.

The performance of the actual songs throws up some interesting observations – firstly, some are just parts of songs, and, due to the nature of the story about songwriters (as opposed to performers), some are raw or early rough examples of the finished and more polished hits that we have grown up to love.

So, although you will enjoy the story, don't expect to hear the songs as you would know them from the records as they are often performed ‘in context’ and do not always sound like the hits – I feel if you are pre-warned about this, then you won't be disappointed!

However, one small criticism/observation about this show was the overly exaggerated choreographic moves that could best be described as ‘dodgy dancing’ by ‘the Drifters’ These were greeted with laughter leaving me confused as to whether this was a comical send-up of the ‘dancing’ of the male vocal groups of the era or simply questionable choreography that didn’t get the desired result.

It was genius to stage a bio musical of this chart-topping music legend who penned material for the likes of Aretha Franklin, The Monkees, The Drifters and The Shirelles as this totally hit-filled show features many of those songs, including Take Good Care Of My Baby, You’ve Got A Friend, So Far Away, It Might As Well Rain Until September, Up On The Roof and The Locomotion with ‘character’ performances by The Drifters, The Shirelles, Little Eva, The Righteous Brothers and even a Neil Sedaka cameo appearance.


It is true, Carole King wrote songs that girls, and women, can relate to and the final two in this show – (You Make Me Feel Like) A Natural Woman and Beautiful – proved to be popular and inspirational anthems for the mostly female audience.

Beautiful: The Carole King Musical runs at the Grand Opera House until October 28th before continuing its tour.
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Sunday 3 May 2020

The Return of the Movie Musical


During the Golden Age of Hollywood, movie musicals were abundant and arguably the most popular genre. However, with the move towards pop culture in the 1960s, their popularity dwindled and gave way to a more rebellious style and tone, which meant the all-singing, all-dancing, wholesome stories fell to the side.

Since then, aside from animated films, there have been a handful of live action musicals, with a few big hits such as Hairspray, Chicago and Mamma Mia!, but these have been largely hard to come by and a rare feature at the cinema. However, it seems that things are changing and we are in the midst of musicals coming back into the mainstream!

In some ways, the huge success of La La Land in 2016, a film which combined Old Hollywood with contemporary vibes, marked the return of movie musicals, with A Star is Born, Bohemian Rhapsody and Rocketman following in its footsteps and taking the box offices by storm. Disney's live action adaptations have also proved massive hits with Beauty and the Beast and The Lion King making huge profits. Of course there's also been the occasional flop... Cats.... (which I actually enjoyed) but on the whole, each release has highlighted the demand and appreciation for musical theatre.  

It seems that Hollywood are finally taking note of the power of theatre people and are giving us the sweet, sweet, high quality films we deserve. There are a whole host of movie musicals in the works which are hugely exciting. Some that I'm most looking forward to are:

In The Heights: This is my all time favourite musical and I just can't wait for the summer vibes, incredible music and general wonder of Heights to be played out on the big screen. The film was originally set for release next month but thanks to Miss Rona it's been pushed back to June 2021.

Everybody's Talking About Jamie: This brilliantly British musical is set for release in October and is sure to thrill as it tells the real-life story of Jamie New, the 17 year old drag queen who wants to go against the norm and be true to himself. We'll also get the chance to see wonderful Max Harwood take on the lead role which will be a real treat.

West Side Story: In what's sure to be another 'Star is Born' performance, Rachel Zegler will be starring as Maria in this Stephen Spielberg adaptation. The production photos that have been released so far look amazing and I cannot wait to see this sumptuous film.

The Prom: I saw this show on Broadway so it'll be wonderful and interesting to see a film version. I think this will transfer brilliantly; plus, Meryl Streep is set to star in it so it's already a win in my eyes.

Matilda: The original Matilda film is a complete classic that will always be a heartwarming treat and the musical evokes the same magical and wondrous vibes. Tim Minchin's music is so clever and will no doubt get us all tapping our feet in the cinema!

Merrily We Roll Along: Ben Platt. Beanie Feldstein. Filmed over 20 years. Okay so this isn't going to be out in the near future but I just can't wait to eventually see this movie. The whole concept sounds so exciting and the cast are absolutely stellar.

As well as these there are more live action adaptations in the works as well as a number of current Broadway musicals being transferred from stage to screen. These include Dear Evan Hansen, Tick, Tick... Boom! and Come From Away. All in all, it seems that we can expect a whole lot more musicals in the mainstream and I cannot wait! What upcoming movie musical are you excited to see?

Post by Olivia Mitchell
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Wednesday 29 November 2017

Beautiful: The Carole King Musical (UK Tour), Edinburgh Playhouse | Review


Beautiful: The Carole King Musical (UK Tour)
Edinburgh Playhouse 
Reviewed on Tuesday 28th November 2017 by Liv Ancell  
★★★★★

Wasting no time in getting started, the Carole King musical opened with the protagonist (played by the talented Bronté Barbé) sitting behind a grand piano at the Carnegie Hall concert, a highlight of King’s solo singing career. During these first few moments of the show we see Carole at her pinnacle – a headline concert. 

Some world-class singing, along with a quick comical address to the audience, and whoosh! The piano glides to the back of the stage, while the forefront is seamlessly transformed into a mid-century apartment in Brooklyn. In an astonishing demonstration of hurried backstage dressing, Carole emerges just moments later, transformed into the gawky 16-year old college student with big ambitions.

And so the show really begins, as we follow the peppy and promising teenager from the very beginnings of her musical ambitions. Throughout the show, we are to see several more versions of Carole. From naïve teenager to career-woman, mother, divorcée and reborn singer – Bronté’s unwavering Brooklyn accent and incredible acting talent carried the audience right the way through the character’s incredible journey.


From joy to dejection, every facet of emotion was expertly communicated by this veritable stage star; from gestures to posture and tone, the calibre of acting on show made the audience really get behind the character. When Carole suffered a set-back, the audience collectively mourned for her. When Carole rejoiced, the audience rejoiced. The connection between Bronté and the audience was pure and deep, emphasising the quality of talent possessed by the actress.

My favourite aspect of the show was the flashy transitions between song-writing and performance. Carole and her husband Gerry Goffin, who was her partner in a work sense, too had a believable on-stage chemistry. The very moment that our ingénues completed the writing of each song (her the melodies and him the words), the chosen artists suddenly appeared to perform Carole and Gerry’s works. These quick ‘cut-betweens’ intersected the story, providing moments of sheer joy, and often comedy, as the audience enjoyed upbeat, all-dancing, all-singing renditions by the likes of The Shirelles and The Drifters.

Carole and Jerry’s counterparts, songwriting duo Barry Mann and Cynthia Well – who were great friends of Carole and Jerry – are the subjects of a sideline love story. The ambitious go-getter Cynthia and hypochondriac musician Barry provide many moments of comedy, and are instantly likeable.


As Carole strikes out on her own in Act 2, the audience see even more of the endless talent possessed by this legendary artist. More confident, less naïve and wiser, the character doesn’t hold back and the real potential of her talent is unlocked. This show is a beautiful journey of talent and dreams, a journey who’s ending would not seem quite so special if the moments of sadness and despair had not appeared along the way. 

A packed Edinburgh Playhouse rose to their feet to toast the young talents of the show. The main characters and the ensemble really seemed to understand the complexities of the relationships and the time period which the show spanned. The execution of this show was flawless; from staging to lighting, to the script and the arrangements. 

I whole-heartedly recommend this show to anybody – even if the name Carole King is unknown to you prior to seeing the show, I can guarantee hits such as the Locomotion and Will You Love Me Tomorrow will jog your memory and give you a new found sense of appreciation of this song writing and singing legend.
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Friday 19 November 2021

My Fair Lady to Open at the London Coliseum


New York’s Lincoln Center Theater’s critically acclaimed and multi award-winning production of Lerner & Loewe’s much loved MY FAIR LADY will transfer to the London Coliseum for a limited summer engagement in what will be the first major West End revival of the show for 21 years. The season comes as part of the ongoing celebrated tradition of summer musicals at the London Coliseum. The perfect way to celebrate London’s theatre scene as it blossoms once more after the pandemic. Performances begin on 7 May 2022 with an opening night on 18 May 2022.

Tickets will go on sale to the general public on 23 November 2021 at 10am. For the latest news and to be amongst the first to access tickets please sign up to the mailing list at www.myfairladymusical.co.uk 

Directed by Bartlett Sher, this sublime production, which premiered in the spring of 2018 at Lincoln Center’s Vivian Beaumont Theater, was the winner of the Tony Award for Best Costume Design,  5 Outer Critics’ Circle Awards including Best Musical Revival, the Drama League Award for Outstanding Musical Revival, and the Drama Desk Awards for Best Musical Revival and Costume Design. The London production will feature the English National Opera’s award-winning Orchestra playing Frederick Loewe’s ravishing score.

Bartlett Sher said: “Getting a chance to revisit Shaw's extraordinary story of class and privilege in a new age, and especially for London audiences, is a rare and special event.  And I am also thrilled to be back at the ENO and the Coliseum, a perfect space for this epic musical.”

“Lerner and Loewe’s My Fair Lady has returned to Broadway in a smashing new production from Bartlett Sher (The Sound of Music, The King and I).”
The Guardian

“Lavish revival of Lerner and Loewe’s 1956 masterwork…”
The Washington Post

My Fair Lady tells the story of Eliza Doolittle, a young Cockney flower seller, and Henry Higgins, a linguistics professor who is determined to transform her into his idea of a “proper lady”. But who is really being transformed?

With a book and lyrics by Alan Jay Lerner and music by Frederick Loewe, MY FAIR LADY boasts a score including the classic songs “I Could Have Danced All Night,” “Get Me to the Church on Time,” “Wouldn’t It Be Loverly,” “On the Street Where You Live,” “The Rain in Spain,” and “I’ve Grown Accustomed to Her Face.” 

“Thrilling! Glorious and better than it ever was! A marvellous and transformative revival.”
New York Times

Adapted from George Bernard Shaw’s play and Gabriel Pascal’s motion picture Pygmalion, Lerner & Loewe’s MY FAIR LADY premiered on Broadway in March 1956, winning 6 Tony Awards including Best Musical, and becoming the longest-running musical in Broadway history at the time. Following this success, the production transferred to London in 1958, where it played in the West End for five and a half years. 

MY FAIR LADY has seen many notable revivals and adaptations, including the acclaimed 1964 film starring Audrey Hepburn and Rex Harrison, which won eight Academy Awards, including Best Picture. Most recently on the London stage, Cameron Mackintosh’s 2001 revival at Theatre Royal Drury Lane won three Olivier Awards, and later toured across the UK and Ireland in 2005.

James L. Nederlander, Jamie Wilson, Hunter Arnold, Playful Productions and the English National Opera present the Lincoln Center Theater production of Lerner & Loewe’s MY FAIR LADY at the London Coliseum, with sets by Michael Yeargan, costumes by Catherine Zuber, lighting by Donald Holder, sound by Marc Salzberg, original musical arrangements by Robert Russell Bennett and Phil Lang, and dance arrangements by Trude Rittmann. 

Full casting for the London production will be announced in due course.

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Thursday 17 March 2022

The Witches of Eastwick to have Concert Performance Starring Giles Terera


Producer Jack Maple, by arrangement with Cameron Mackintosh Ltd, is delighted to announce a special one-off concert of The Witches of Eastwick at the Sondheim Theatre on Monday 20 June 2022.

The Witches of Eastwick has a book and lyrics by John Dempsey and music by Dana P. Rowe, based on the novel by John Updike and the Warner Brothers motion picture. Maria Friedman will direct with musical staging by Stephen Mear. Olivier Award-winning actor Giles Terera will star as Darryl Van Horne. This will be the first time the musical has been seen in London since it originally played at the Theatre Royal Drury Lane in 2000, transferring to the Prince of Wales Theatre in 2001. Tickets are on sale from 10am on Thursday 17 March.
 
Further all-star casting is to be announced.
 
The Witches of Eastwick tells the tale of the people of the little town of Eastwick. It is a town where everyone knows everything about everyone else, and it is presided over by the indomitable Felicia Gabriel. Bored with their small town lives, three women - Alexandra (Alex), Sukie, and Jane--share a desire for “all manner of man in one man” to provide excitement and variety. That man arrives, literally in a flash, in the devil-like form of Darryl Van Horne. Darryl seduces the women and teaches them powers, which they never knew they had. 
 
Cameron Mackintosh said “I’m really thrilled that Jack Maple is conjuring up the wickedly funny Witches of Eastwick again, for one night only in concert with a glorious cast at the Sondheim Theatre.  It has always been one of my favourite scores, which I’m very much looking forward to hearing in its full splendour.”
Maria Friedman said “I’m so incredibly excited to be revisiting Eastwick after all these years. To be reunited with the fantastic Stephen Mear and to have the opportunity to bring this beloved musical back to London, and at the simply stunning Sondheim Theatre, for one night only is an absolute thrill and I can’t wait to get started.” 

Giles Terera MBE is an award-winning actor, musician and writer. He is best known for originating the role of Aaron Burr in the London production of the award-winning musical Hamilton, for which he won the 2018 Olivier Award for Best Actor in a Musical. Giles’s other work on stage includes Rosmersholm, The Tempest, Avenue Q, The Book of Mormon, 125th Street, Rent (West End); Ma Rainey’s Black Bottom, Hamlet, Death and the King’s Horseman, The Hour We Knew Nothing of Each Other, Troilus and Cressida, Candide, Honk! (National Theatre); The Merchant of Venice (Shakespeare’s Globe/international tour); The Resistible Rise of Arturo Ui (Donmar Warehouse); Pure Imagination – The Songs of Lesley Bricusse (St. James’s); King John (Shakespeare’s Globe/UK tour);  The Ratpack (West End/international tour); Jailhouse Rock (Theatre Royal Plymouth/West End); The Tempest (RSC) and Generations of the Dead (Young Vic). As a writer, his theatre work includes The Meaning of Zong (Bristol Old Vic), The Ballad of Soho Jones (St. James’) and Black Matter (Crazy Coqs). Giles was appointed a Member of the Order of the British Empire (MBE) in the 2020 New Year Honours for services to theatre.

The winner of three Olivier Awards and an Evening Standard Award, Maria Friedman is one of Britain’s most successful and acclaimed Musical Theatre actresses. Maria starred in the original West End production of The Witches of Eastwick as Sukie alongside Lucie Arnaz as Alex and Joanna Riding as Jane. Her many other West End acting credits include Passion, Ragtime, Merrily We Roll Along, Blues in the Night, Chicago, The Woman in White and, most recently, she played Golde in the Olivier Award-winning Trevor Nunn production of Fiddler on the Roof at the Playhouse Theatre. Maria won over a whole new audience when she joined the cast of long-running soap EastEnders, playing Elaine Peacock.  In 2013, Maria made her directorial debut at the Menier Chocolate Factory with a production of Stephen Sondheim's musical Merrily We Roll Along.  After a series of 5-star reviews, the Critics’ Circle Award for Best Musical and a sell-out extended run, it transferred to the West End and played Boston.  In 2014, it won the Olivier for Best Musical Revival. It was recently announced that Maria will stage Old Friends, a celebration of the work of Stephen Sondheim at the Sondheim Theatre, with Matthew Bourne in May, as well as an Off-Broadway production of Merrily We Roll Along starring Daniel Radcliffe as part of New York Theatre Workshop’s 2022/23 season.

The multi award-winning Stephen Mear, is one of the world’s most celebrated choreographers, with two Olivier Awards, an LA Drama Critics Circle Award, and a Helpmann Award. His theatre work includes Mary Poppins with co-choreographer Matthew Bourne (Prince Edward Theatre 2004 & 2019); Funny Girl and Guys and Dolls, as director/choreographer (Marigny Theatre); Guys and Dolls Concert, as director/choreographer (Royal Albert Hall); Chess (ENO); Sunset Boulevard (ENO and Broadway); On the Town (ENO and Théâtre du Châtelet); 42nd Street as director/choreographer (Théâtre du Châtelet); Singin’ In The Rain (Grand Palais);  City of Angels, The Vote and The Resistible Rise of Arturo Ui (Donmar); White Christmas (Dominion Theatre and Curve, Leicester);  Mack and Mabel, The Pajama Game, She Loves Me as director/choreographer, Amadeus, The Music Man, Funny Girl, How to Succeed In Business, Putting it Together and The Grapes of Wrath (Chichester Festival Theatre);  Die Fledermaus (The Metropolitan Opera, New York) and The Little Mermaid (Broadway). Stephen will be choreographing Old Friends at the Sondheim Theatre this May.

John Dempsey wrote both the book and lyrics for Zombie Prom (Off Broadway & Germany), The Fix directed by Sam Mendes at the Donmar Warehouse (Olivier Award & Helen Hayes Award nominations) and lyrics for The Reluctant Dragon, A Country Christmas Carol, and the Ringling Bros. Barnum & Bailey Circus. Plays include; One Miracle in a Lifetime (Ohio Arts Council Award), The World Today and The Greater Goode.

Dana P. Rowe wrote the music for Zombie Prom (Off Broadway & Germany) and The Fix, directed by Sam Mendes at the Donmar Warehouse (Olivier Award & Helen Hayes Award nominations). He also  prepared the score for The Ballad of Bonnie & Clyde which premiered at the 2005 New York Musical Theater Festival as a featured production.
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