tag:blogger.com,1999:blog-27727832585476866752024-03-05T08:58:29.898+00:00The Theatre BlogTheatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.comBlogger211125tag:blogger.com,1999:blog-2772783258547686675.post-16068011035460953542015-09-16T11:44:00.002+01:002015-09-16T11:53:11.322+01:00In The Spotlight | CERI DUPREE (Wolverhampton Grand Theatre) October 2015<div class="separator" style="clear: both; text-align: center;">
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Ceri Dupree has been delighting audiences worldwide for almost 30 years. His unique talents have led him through musical theatre, pantomime, summer seasons, television and cabaret. There isn't an audience (age or type!!!) that he hasn't played to. Following a successful pantomime season in 2013 and one man (twenty two women) show in 2014, Ceri returns to the Wolverhampton Grand Theatre in October. </div>
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<b>Wolverhampton is excited to have you back after a fabulous pantomime season in 2013 with Sleeping Beauty. Are you looking forward to coming back? </b></div>
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It’s hard to believe that was 18 months ago! The time just goes… Wolverhampton Grand Theatre is what I call a proper theatre. We go to lots of different venues all over the country and some I call theatres, others I call civic venues… council run things in leisure centres, they’re purpose built theatres but for me, you’ll never beat the old theatres like the Grand. </div>
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<b>It’s a brand new show you’re bringing to Wolverhampton, EYEcons, tell us more!</b></div>
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Yes, a brand new show that’s a play on words, EYEcons obviously meaning icons… female icons. The last time I came and did my show, just after the last panto season we had a great time but this will be something different. There are a few favourites that people love that I always put in, like Tina Turner but last time I did Camilla Parker Bowles, Shirley Bassey, Björk and Marlene Dietrich – they’re all staying at home this time and the first half of this show will be all old Hollywood. I mean old – we start off with Mae West and then Bette Davis and Shirley Temple, then we bring it a little more up to date like Dolly Parton and Joan Rivers. </div>
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Without giving too much away, in the second half there’s a skit on The Sound Of Music – I saw Lady Gaga do it at the Oscars, I thought “hmmm, hang on! How can I get Lady Gaga, Dame Edna and Julie Andrews into the Sound Of Music?” … but I think I’ve done it! I hope I’ve done it anyway…</div>
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<b>It’s not just your voice and physical impersonations that impress; it’s your costumes too! You must spend a fortune…</b></div>
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I do. I’ve just done a 4 week run of a show in London with my sister Ria Jones and some of the costumes in that particular show got people’s attention. When they ask how much they cost I know they don’t believe me. If I say a coat costs £1500, a full outfit covered in feathers is ridiculous amounts more! </div>
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I’ve always said though, I’m dressing up as some of the most of the most expensive women in the world. I don’t have Shirley Bassey’s wage, I wish I did, but I’m dressing up as her, so to do my best I have to spend a lot. I just like to give my audiences good value for money, whether that’s through the songs, the impersonations, the stand up or the costumes.<br />
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<span style="color: #cccccc; font-size: x-small;">Ceri as Queen Passionella in Wolverhampton's 2013/14 pantomime. </span></div>
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<b>Would you wear any of it out at the weekend?</b></div>
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No, they’re too heavy! People always say to me, especially during pantomime, where the costumes are really outrageous – “how do you walk in those shoes? How do you balance that hat on your head?” but the thing is I only have them on for a few minutes. I totter across the stage, do my thing, hopefully get a laugh and take them off as soon as I get into the wings. I pity these girls who wear these heels all night in clubs. I do fifteen costumes changes in my upcoming show!</div>
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<b>How do you decide which women you’re going to impersonate?</b></div>
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I try to keep it fresh all the time, so I’m always on the lookout. The sad thing is, I had scheduled to do a bit on Cilla Black this time around. Of course, now she’s died it would be in really bad taste so I’ll leave it a few years and come back to her. </div>
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<b>She would have probably loved it though?</b></div>
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She would have! You just can’t do it so soon though. Joan Rivers is back in the show now, I took her out of the show after her death too, even though she was always the first to mock and laugh at herself. I also did the same with Amy Winehouse when she left us, even though she was back for my 2014 show I toned it down a bit – I want to make people laugh, not upset or offend them. I like to think that I send them all up in a celebratory way.</div>
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<b>What’s great about your show is that by coming to see it, you can enjoy acts that you can no longer see, or simply couldn’t afford to see…</b></div>
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That’s exactly it. It’s not only nostalgia, because the young audiences come and enjoy the show and they’d never remember someone like Mae West or Marlene Dietrich but they still laugh and that’s great – you don’t necessarily have to know who these people are. If I do Zsa Zsa Gábor people say “did she really have 9 husbands?” and yes she did. She still holds the record in Hollywood to this day for the most marriages, one more than Liz Taylor, so they laugh, and that’s the most important thing. You’ll get your money’s worth!</div>
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Ceri Dupree’s EYEcons is at Wolverhampton Grand Theatre on Tuesday 13 October. Tickets are available <a href="http://www.grandtheatre.co.uk/whats-on/comedy/ceri-dupree-eyecons/" target="_blank"><span style="color: #999999;">here</span></a>. </div>
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Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com1tag:blogger.com,1999:blog-2772783258547686675.post-30058114966671990872015-08-31T19:02:00.000+01:002015-08-31T19:31:20.571+01:00In The Spotlight | OUR HOUSE (Union Theatre) August - September 2015<div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.uniontheatre.biz/" target="_blank"><b><span style="color: #999999;">The Union Theatre</span></b></a>, established in 1998, is a small fringe theatre, just a short walk from Southwark station on Union Street, London. Despite seventeen successful years and perhaps the most dominant presence in off-West End theatre, this week was to be our first visit to the small but perfectly formed '50 seater' under the railway bridge... </div>
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Prompting a new feature, <a href="https://twitter.com/Theatre_Blog" target="_blank"><span style="color: #999999;"><b>#InTheSpotlight</b></span></a> and breaking a two month hiatus on the blog, The Union's production of <a href="http://www.uniontheatre.biz/our-house/4590085368" target="_blank"><b><span style="color: #999999;">Our House</span></b></a>, the Madness musical does much to deserve recognition for pulling off an ambitious vision in such an intimate space. </div>
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<span style="color: #999999; font-size: xx-small;">Our House at the Union Theatre. Photo by Darren Bell. </span></div>
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Any production would pose it's own difficulties to stage at the Union, due to limited space, but in particular William Whelton's dynamic choreography shows no limitation and is presented with an abundance of energy from an enthusiastic ensemble.</div>
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<b>Our House </b>makes our first recommendation this month because it proves wholeheartedly that in London, great theatre isn't just on Shaftesbury Avenue - here it's just a short hop across the river and at a fraction of the cost...</div>
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Tickets can be bought online <a href="https://www.ticketsource.co.uk/uniontheatre" target="_blank"><span style="color: #999999;">here</span></a>. Performances are close to selling out, with best availability mid week, so snap up those final tickets! It's useful to know that all pre-purchased tickets are traded for a numbered ticket on arrival. The audience is called into the auditorium in groups of ten, so get there early for the best seats. Below is everything you need to know:</div>
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<b>Our House</b> plays until Saturday 12 September with a running time of 2hrs 15 mins. Tickets are £20, concessions £17. </div>
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<b>Cast List: </b>Steven France, Alisa Davidson, Dominic Brewer, Sally Samad, Joseph Giacone, Joe Ashman, Claire Learie, Chanice Alexander-Burnett, Rhys Owen, Jay Osbourne, Joanna Bird, Alice Baker, Rachel Capp, Lauren Dinse, Reece Kerridge, Paul Flannigan, Zachary Worrall. </div>
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<b>Directed by: </b>Michael Burgen</div>
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<b>Choreographed By: </b>William Welton</div>
Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-15495054113012247242015-06-29T19:37:00.001+01:002015-06-29T19:37:47.397+01:00Preview | MATA HARI THE MUSICAL (Edinburgh Fringe Festival)<div class="separator" style="clear: both; text-align: center;">
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They’ve done it again! The champions of the parody musical genre are back!</div>
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<a href="http://www.punchlinetheatre.co.uk/" target="_blank"><span style="color: #999999;">Punchline Theatre</span></a>, the company behind <i>Guido!: The Gunpowder Treason Plot</i> and <i>Jack & I: The Jack the Ripper Musical</i> return to this year’s Edinburgh Fringe at the beautiful Merchants Hall. Their latest show <b>Mata Hari: The Musical</b> explores and reimagines the life of the infamous wartime courtesan, femme fatale, and alleged spy Mata Hari in an explosion of colour, sound, and comedy!</div>
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“No, you don’t have to have seen our other shows, or even be aware of who Mata Hari was”, writer Daniel Henry Kaes informs me. “We are making are the same points as we have always done, but it’s a genre that naturally leaves itself open to parody. It is perfectly possible in my eyes to have a fantastically funny show, with catchy songs and crazy characters, that at the same time is informative, revealing, and up-lifting. The starting point for these musicals was the idea that history is written by the winners, so trying to reimagine these “anti-heroes” in this offbeat, individualist manner is very liberating.”</div>
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The real legend of Mata Hari has triggered much debate amongst historians, and it is her fantastic story of seduction and alleged espionage in that makes her such a perfect choice for a musical. Punchline Theatre are fast growing in their popularity for their cult musicals and they are joined this year by award-winning comedian and director Will Seaward. Their anarchic spirit has been compared to The Comic Strip Presents, Python, Jerry Springer: The Opera, and Garth Marenghi’s Darkplace, and once again Punchline Theatre is sure to provide a breath of fresh air at this year’s Edinburgh Festival.</div>
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Mata Hari: the Musical runs for three weeks from 6th - 27th August, 8:45pm (50 mins) at Spotlites @ Merchants Hall at the Edinburgh Fringe Festival 2015.</div>
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<a href="http://spotlites.co.uk/edfringe-mata-hari-musical-15.shtml" target="_blank"><span style="color: #999999;">Click here </span></a>to book tickets. </div>
Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-75805475228288359832015-06-18T18:16:00.002+01:002015-06-18T18:17:21.900+01:00Review | THE KING DANCES / CARMINA BURANA (Birmingham Royal Ballet) June 2015<div class="separator" style="clear: both; text-align: center;">
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Celebrating 20 years of Artistic Director, David Bintley, Birmingham Royal Ballet present his first and most recent ballets for the company at Birmingham Hippodrome this week. </div>
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The King Dances is the 1653 story of the 14-year-old Louis XIV of France who danced the role of Apollo the sun god in Le Ballet de la nuit, and earned himself forever the soubriquet the Sun King. In the ballet, David Bintley re-imagines the very beginnings of ballet, when men were quite literally, the kings of dance.</div>
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From it's fiery opening with flickering flames, the Messieurs are perfectly poised but it is ultimately, Le Roi, the Sun King danced by William Bracewell who commands attention over the discordant score. His duet with the moon, Yijing Zhang's Selene, la Lune is simply beautiful and leads nicely into a striking finale of glowing gold. </div>
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It all overseen by the brilliance of seasoned dancer Iain Mackay as La Nuit who's turn as Le Diable, the devil adds a welcome change in dynamic. It is rather succinct at only 35 minutes but is nonetheless pure, undiluted brilliance. </div>
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1995's Carmina Burana opens with the familiar 'O Fortuna' - the last time I was sat at Birmingham Hippodrome listening to that song, I was being covered in snow by clowns, it's a versatile an anthem. Here it provides the perfect introduction to the angular, disjointed choreography, executed with gusto from Céline Gittens, as a break from the more classical ballet of which we were treated to earlier in the evening. </div>
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If it's something BRB do well, it's providing contrast in it's double and triple bills whilst keeping the theme relatively correlating. Carmina Burana keeps the dark drama of the first piece but despite being 20 years old injects a freshness through the abandoning of structure and the exploration of fate. </div>
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Divided into several departures from faith, 'On The Village Green' is sprightly, much like MacMillan's <i>Elite Syncopations</i>, an injection of colour, flirtatious and contests with the equally entertaining 'In The Tavern' which also draws parallels with Jooss' <i>The Green Table</i> - gluttons in masks and gloves dancing around a table on which Daria Stanciulescu is presented as an effortlessly delicate Roast Swan. </div>
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The climax, a reprise of O Fortuna is preceded by a breathtaking sequence for the tearing down of the backcloth and revealing of a concert-like spectacle that's all in the staging. </div>
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Not only The King Dances but the evening as a whole is deliciously dark and by it's climax, glows gloriously. </div>
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At Birmingham Hippodrome until Saturday. <a href="http://www.birminghamhippodrome.com/whatson_focus.asp?showid=1843" target="_blank"><span style="color: #999999;">Click here</span></a> for tickets. </div>
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View the trailer for Carmina Burana</div>
<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="https://player.vimeo.com/video/117160508" webkitallowfullscreen="" width="100%"></iframe> <br />
<br />Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-83853873922592252682015-06-18T09:06:00.001+01:002015-06-18T09:06:56.023+01:00News | BIRMINGHAM ROYAL BALLET ANNOUNCE JAN TEO AS NEW CHIEF EXECUTIVE<div class="separator" style="clear: both; text-align: center;">
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The Board of Directors at Birmingham Royal Ballet has announced the appointment of Jan Teo as its new Chief Executive. Ms. Teo has served as a member of the Birmingham Royal Ballet Board for the past two years and has long experience in corporate management and the arts. She will take up the position in mid-September. Current Chief Executive Christopher Barron is leaving the Company in July, as announced in November.</div>
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Announcing Ms. Teo’s appointment, Birmingham Royal Ballet’s Chair of the Board, Professor Michael Clarke said: “I am extremely pleased that we can make this appointment. The Board conducted a thorough international search, and while there was no shortage of qualified candidates it was nevertheless hugely gratifying to find the answer round our own Board table. Jan has just the mix of leadership skills and management experience we need, knows the Company well, and has great experience in the arts sector in Birmingham. We look forward to working successfully with her.”</div>
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In 2009 Ms. Teo joined Deutsche Bank as a Director, heading up the Change and Infrastructure Group in Birmingham. Having played a leading role in the exponential growth of the business, Jan became Chief Operating Officer for Deutsche Bank’s European Service Centres in early 2011. Jan draws on extensive commercial experience of planning and executing strategy, having been formerly a senior leader at Legal and General, Barclays Bank, RAC Motoring Services, Lex Transfleet and the Fraikin Group, working in Service and Business Transformation Director roles.</div>
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A strong and active supporter of Birmingham Royal Ballet, Ms. Teo joined its board in 2013, and the Company’s Finance and General Purposes Committee in 2014. Ms. Teo is also a Director of the Birmingham Museums Trust, where she chairs the Finance and Operations Committee. She has played an important part in the annual Deutsche Bank Creative Awards and the Women in European Business diversity group. At the invitation of Sir Albert Bore, she led a workshop at the 2012 Cultural</div>
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Summit, also sits on a steering group of Birmingham’s Creative Partnership Board looking at alternative funding models for arts and creative businesses.</div>
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Jan Teo added: “I am delighted to combine my corporate skills with a personal and lifelong passion for the arts and cultural pursuits, and am looking forward to working with the immensely talented and dedicated team at Birmingham Royal Ballet. Having been a member of the Board, I have had the privilege of getting to know the Chair and the Company well, and vice versa. It is a double honour to be following Chris Barron and all his achievements in the role of Chief Executive and to be working toward the future alongside David Bintley.”</div>
Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-76630624154462565612015-06-11T23:23:00.002+01:002015-06-11T23:23:38.038+01:00Review | PETER PAN (Welsh National Opera) June 2015<div class="separator" style="clear: both; text-align: center;">
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Peter Pan, the story of the boy who never grows up... and it is before they're grown up that you should introduce children to theatre and they're likely to become lifelong theatregoers. Children need a way in, usually pantomime (of which Peter Pan is becoming a popular choice) but for other forms, such as Ballet and Opera it can be more difficult. </div>
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Companies such as Northern Ballet are great at their 'Children's Ballets' with <i>Elves And The Shoemaker</i> currently touring and now Welsh National Opera's attempt to appeal to new audiences comes in the shape of J.M Barrie's classic tale. </div>
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Despite Disney's glossier movie, recent adaptations of the story have focussed on the darker undertone, the RSC's <i>Wendy And Peter Pan</i> for example explores not only death but closer looks at Wendy's responsibilities. For this version, it appears that the very Victorian nature of the story is the central theme - the dark and Dickens-like London that perhaps ties into WNO's season - <i>A Terrible Innocence. </i></div>
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The innocence however is what I'd question. I'm not entirely sure that opera fully lends itself to the story of Peter Pan. For one, the operatic style of singing is mature beyond any of the characters' age and it was apparent in the confusion of nearby children that adults playing the young Darling family was a little too much to comprehend. </div>
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The lyrics are at their best when spoken. Much of the evening is spent looking at the subtitles for clarification despite it being sung in English. It seems odd to say that it is the singing itself that takes away from the piece which is otherwise a visual treat. </div>
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It's beautifully lit and there are some breathtaking movement sequences. The use of trains cleverly aid change in location and even a train carriage as a pirate ship works well. The locations themselves are made from toys and other objects around the children's nursery - it's very clever, especially the grandfather clock which becomes the crocodile. The only confusion design-wise is that Neverland seems to be located within the nursery itself, perhaps suggesting it's just a make believe bedtime story? </div>
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There is a very nice use of animated projection to portray Tinkerbell and her revival is a heartwarming moment aided with the use of puppetry. </div>
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Ashley Holland is excellent and stands out as Captain Hook. The highlight is Hook's song with his band of pirates. Surprisingly, it is this moment that's most lighthearted and has the most rhythm, it's where the music finally gets going from what was a little discordant before. </div>
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The idea of Peter Pan as an opera is not to be dismissed, but to be thoroughly enjoyed by children it needs to focus on the fantasy and a greater sense of hope, it's dark and very downbeat. The deliberate focus on the danger removes the elements of fun. For the adults, perhaps a deeper exploration into at least one of the relationships that begins to touch at the heart.</div>
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An alternative flight to Neverland - a route you won't have taken before but one that's interesting to travel. </div>
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For further operas at Birmingham Hippodrome, click <a href="http://www.birminghamhippodrome.com/default.asp?Id=240&sC=page1" target="_blank"><span style="color: #999999;">here</span></a>. </div>
Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-13026448650087314722015-06-07T16:50:00.000+01:002015-06-07T16:50:01.040+01:00Preview | 14/48 THE WORLDS QUICKEST THEATRE FESTIVAL IN WOLVERHAMPTON<div class="separator" style="clear: both; text-align: center;">
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<span lang="EN-US" style="font-family: Arial; font-size: 11.0pt;">Straight from the streets
of Seattle, <b style="mso-bidi-font-weight: normal;">14/48 WOLVERHAMPTON </b>is
landing at the <b style="mso-bidi-font-weight: normal;">Arena Theatre</b> in June
and is set to showcase 14 plays over a 48-hour period. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; font-size: 11.0pt;">The festival is the
brainchild of <b style="mso-bidi-font-weight: normal;">Michael Neff</b> and <b style="mso-bidi-font-weight: normal;">Jodi-Paul Wooster</b>, who hatched the
initial plans whilst working at South Lake Union, Seattle. From humble
beginnings, the festival has developed into a gathering of Seattle’s most
daring theatre artists and audiences. After 16-plus years, the festival has
gone global and visits Wolverhampton from 12 – 13 June 2015. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; font-size: 11.0pt;">During the two-day period
in the city, 14 plays will be written, directed, scored, designed and performed
within 48 hours. A team of 75 artists from the across the Midlands, the UK and
Seattle are engaged in the festival, producing 7 premiere plays per evening.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial; font-size: 11.0pt;">14/48</span></b><span lang="EN-US" style="font-family: Arial; font-size: 11.0pt;"> is a ‘live brief’ networking opportunity, a new
writing festival, theatre stripped back to it’s raw roots. It is the most fun,
challenging, and invigorating experience for both the artists and audiences
that make it possible. It aims to develop satellite
festivals across the world, encouraging a flow of artists between festivals,
and the benefits that blossom from these connections.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; font-size: 11.0pt;">As part of the festival,
there will also be a Meet the Brewer event with Sacre Brew, an exciting
artisanal microbrewery based in Wolverhampton on the evening of Saturday 13
June.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Arial; font-size: 11pt;">14/48</span></b><span lang="EN-US" style="font-family: Arial; font-size: 11pt;"> performances begin at
8pm and 10:30pm on 12 & 13 June priced at £5 - £7 per show or £8 - £10 for
both nights booked together. Tickets are on sale now from </span><span lang="EN-US"><a href="http://www.arena.wlv.ac.uk/"><span style="font-family: Arial; font-size: 11pt;">www.arena.wlv.ac.uk</span></a></span><span lang="EN-US" style="font-family: Arial; font-size: 11pt;"> or by
calling the Box Office 01902 321321.</span></div>
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Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-45417171899213212932015-05-06T23:49:00.000+01:002015-05-07T17:31:20.351+01:00Review | DIRTY ROTTEN SCOUNDRELS (UK Tour) May 2015<div class="separator" style="clear: both; text-align: center;">
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Following a West End season, Dirty Rotten Scoundrels The Musical is now touring the UK, premiering in Birmingham at the New Alexandra Theatre this week. Based on the 1988 movie starring Michael Caine and Steve Martin, the show began life in California in 2004, moving to Broadway in 2005. Almost a decade on, a brand new production directed and choreographed by Jerry Mitchell is giving the audience what they want. With everything from great songs, comedy, high energy dance routines and a gorgeous set a ticket to this show sure aint no con! </div>
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On the French Riviera, Lawrence and Freddy, two conmen (one notably better than the other) unite on their biggest job ever whilst trying to woo and con 'millionaire Soap Queen' Christine Colgate with twists, turns and many a disguise along the way.<br />
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The pre-show curtain sets the scene, like a giant postcard of seaside village Beaument-sur-Mer. From the moment it lifts you are transported into the perfect theatrical world full of glorious glitz and glamour of the French Riviera. What's great is that this feels like one of the classics - the MGM musicals, but with the added bonus that this particular production is barely 2 years old. Even compared to the excellent West End production, it remains remarkably fresh.</div>
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Michael Praed is every inch the charmer as Lawrence Jameson. Irresistibly smooth, he glides his way through the part that you would believe was written for him. His counterpart, the less deceiving Freddy is played by Noel Sullivan. An oafish opposite in terms of sophistication, Sullivan is particularly hilarious as Ruprecht, a strange brother invented to deter Phoebe Coupe's comedic, scene-stealing Jolene and later as a man paralysed from the waist down - earning some of the biggest laughs of the night.<br />
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Mark Benton plays Andre, the French inspector. The role has previously been played as a handsome, clean-cut, designer-stubbled superior but here, Benton's somewhat buffoonish take on the character works incredibly well and earns much of the audience sympathy. Benton brings to light a new-found humour in the role. </div>
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Carley Stenson proves her presence with some powerhouse vocals as Christine. She's mesmerising as the tempting American and ensures all eyes are on her throughout a glowing performance. Geraldine Fitzgerald is utterly charming as Louis Vuitton clutching Muriel - a lonely Englishwoman who ensures the tender moments of this high-octane musical are among some of the most memorable - in particular the evolving relationship with Andre.<br />
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Peter Mackintosh's set design is stunning and scenery changes are slick - there are moments of pure genius. There is an overwhelming sense of luxuriousness that transports a midweek in a Birmingham theatre to a Saturday night in Monte Carlo. This is the show that gives them what they want, nothing cheap or cheesy, just pure glitz, glamour and entertainment from start to finish. Even at this, the tour's premiere, you'd be conned into thinking they'd been at it for years it's so slick. Simply unmissable!<br />
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Dirty Rotten Scoundrels runs at Birmingham New Alexandra Theatre until Saturday 16 May. Buy (or con people into buying) tickets <a href="http://www.atgtickets.com/shows/dirty-rotten-scoundrels/new-alexandra-theatre-birmingham/" target="_blank"><span style="color: #999999;">here</span></a>. </div>
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<b>Cast List:</b> Michael Praed, Noel Sullivan, Carley Stenson, Mark Benton, Geraldine Fitzgerald, Emma Caffrey, Andy Conaghan, Phoebe Coupe, Soophia Faroughi, Jonny Godbold, Orla Gormley, Patrick Harper, Justin Lee-Jones, Jordan Livesey, Lisa Mathieson, Andy Rees, Freya Rowley, Regan Shepherd, Kevin Stephen-Jones, Katie Warsop, Jenny Wickham.</div>
Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-3047612829684648782015-05-01T11:27:00.000+01:002015-05-01T11:27:11.461+01:00Interview | ALEX BEAUMONT from DREAMBOATS AND MINISKIRTS<div class="separator" style="clear: both; text-align: center;">
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<b>Dreamboats & Miniskirts </b>is the sequel to the popular Dreamboats & Petticoats comes to Wolverhampton Grand Theatre from Tue 23 - Sat 27 June. Alex Beaumont who plays Bobby spoke about the show and the part he plays in it. </div>
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<b>This is your second run with Bill Kenwright’s production – what is it about this musical and your role that made you decide to continue into 2015?</b></div>
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The music, the 60s music, it’s incredible to get to sing it eight times a week, I really love 60s music. The character of Bobby, well, I do identify with him, I have a little soft spot for him, which makes me want to play him. We’re similar because we’re typical boys, we don’t really think about things, like girls feelings – an ignorant boy (laughs).</div>
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<b>The cast must know each other so well now – is it like one big family?</b></div>
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Yeah, it really is. It’s also amazing to have the live band on stage with you as well because you feel like you have that support. Everyone gets on great, everywhere we go we all go for meals together or stay in digs together, so yeah, it really is like one big family.</div>
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<b>You have a new Norman – how is Alastair settling in?</b></div>
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Brilliant, absolutely amazing, he’s such a pleasure to work with. We got on really well on and off stage, so it’s really nice. He has taken over from Ross (William Wild) and he probably was a bit nervous, but I experience the same thing when we started Miniskirts last year because there was only me and Ross who were new to the franchise, everyone else had been in Petticoats at some point. I did kind of feel it would be hard to slot in, but actually, it was really easy because they’re such a nice bunch of people.</div>
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<b>For those that haven’t seen the show, tell us a bit about it and your character.</b></div>
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The show focuses on Bobby and Laura, they’ve just had massive success with Dreamboats and Petticoats, and in Miniskirts, you see how their relationship, professionally and romantically, is going to work and whether it will work. You also have recurring characters Norman and Sue, who are getting on nicely, they’re married. And then there’s Donna and Ray. Ray is now working in a salon in Bond Street and Donna’s working in her boutique and they’re going through every day relationship struggles too. They’re a little bit older, everyone’s matured apart from Bobby!</div>
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<b>It’s a show set in the 1960s – do you find the audiences are of that generation or is it appealing to a younger audience?</b></div>
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A bit of both actually. Generally, the audiences we get are people who were the age of the characters in the show in the 60s, and the people we get to meet after the show, most of them will tell us it took them back to their youth and it was really nice to reminisce. But then also, that generation are then taking their children and their children’s children to come and see it as well. We’ve had young children in the audience, who, some of them, know all the words, which is brilliant. So it just goes to show that even if you weren’t around in that era, you can still appreciate it.</div>
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<b>Has your music and fashion taste changed because of the show?</b></div>
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I’ve always loved 60s music, although it was more jazz and soul, Ben E. King, Ray Charles, Sam Cooke, all those great singers. And then in the show you’ve got Roy Orbison, Smokey Robinson and other amazing singers that you don’t really get these days. And their songs have stood the test of time and that’s why I like this kind of music. As for the fashion, I do like the Chelsea boots that I get to wear every night, and to have a nice sharp suit to wear is always really nice to wear.</div>
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<b>You said you have grown as the show has gone on – how have you changed from your very first performance last August to now?</b></div>
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I’ve definitely relaxed into the role and what has really helped is finding those similarities between you as a person, and character, it makes it a lot easier to relate to. And it’s taught me not to be so hard on myself. Because it’s such a massive role in the dhow, no one’s superhuman, you learn how to conserve your energy but still make sure you give enough for every show. And those are skills that will hopefully carry on in the rest of my career.</div>
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At Wolverhampton Grand Theatre from Tue 23 - Sat 27 June. <a href="http://www.grandtheatre.co.uk/whats-on/musicals/dreamboats-miniskirts/" target="_blank"><span style="color: #999999;">CLICK HERE</span></a> to book tickets. </div>
Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-74814920481365940832015-04-21T23:52:00.001+01:002015-04-22T08:27:00.475+01:00Review | JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT (UK Tour) April 2015<div class="separator" style="clear: both; text-align: center;">
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Andrew Lloyd Webber's timeless tale of a band of brothers in a biblical bonanza of colour and high energy dance routines bursts onto the Belgrade stage this week. </div>
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With a score of well known classics, the show never fails to leave you grinning from ear to ear. In a re-energised 2015 production from Bill Kenwright, X Factor finalists provide a pop injection to bring the show bang up to date. With new orchestrations and moderations to direction, Joseph is back and on better form than before. </div>
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Heading up the cast is Lloyd Daniels, as hero Joseph - the twelfth son of Jacob, despised by his brothers and sold into slavery. With a winning smile and overwhelming charm Daniels' has the audience in the palm of his hand - his Welsh tones perfectly suit the score through ballad and the more upbeat. He provides a necessary naivety yet remained a confident frontman and ensure everyone leaves on a high. </div>
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Amelia Lily is a strong narrator, creating her own, unique version of the role that draws on her chart-topping vocal skills. Whereas usually the narrator boasts an incredibly high vocal range, lowering the octave occasionally ensures that Lily can instead use her trademark belt to wow the audience. A very impressive theatrical debut.</div>
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Matt Lapinskas roused the crowd as the Pharoah and his Elvis turn let the audience know well and truly that he is in the building... they were shouting for more - literally! </div>
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As an ensemble show, there is great deal of stage time for an energetic group of brothers who provide excellent backing vocals and constant humour and the female handmaidens prove to be excellent dancers. There is full marks for enthusiasm. </div>
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Even after all these years, the inflatable sheep used still haven't learnt to behave and inflate properly but it's all part of the charm. With delightful costumes and the occasional pair of Ugg boots, the show is as ever the complete visual treat.</div>
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Unoffensive, family fun with singing camels for good measure, who could ask for anything more? With every possible musical style imaginable there's something for everyone. It's simple storytelling but incredibly hard to resist coming back again and again. At Belgrade Theatre Coventry until Saturday 25 April. Tickets <a href="http://www.belgrade.co.uk/event/joseph-and-the-amazing-technicolor-dreamcoat" target="_blank"><span style="color: #999999;">here</span></a>. </div>
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<b>Cast List: </b>Lloyd Daniels, Amelia Lily, Henry Metcalfe, Matt Lapinskas, Sam Hallion, Camilla Rowland, Andrew Bateup, Marcus Ayton, Alfred Bache, Joel Burman, Robert Colvin, Matt Brinkler, Jamie Jukes, Craig Golding, Matt Blaker, Samantha Noel, Daisy Steere, Chris Kayson. </div>
Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-71604087235027608172015-04-21T00:41:00.001+01:002015-04-21T08:54:22.164+01:00Review | THE PRODUCERS (UK Tour) April 2015<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6F46KgXR-Wah7VD9lhfCKQgh5kas_zAsfr55MTSp4a27W9m8X8bcCPNYMaznLqDOVBKAlE4WOzQK6CUOxAwFCZ6ka6_1_e2rJmMHuEVDm2OW2mQUqlbqu2tThCgI3wQwIbpoCxJzbvtHI/s1600/the-producers+jason+manford+louie+spence.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6F46KgXR-Wah7VD9lhfCKQgh5kas_zAsfr55MTSp4a27W9m8X8bcCPNYMaznLqDOVBKAlE4WOzQK6CUOxAwFCZ6ka6_1_e2rJmMHuEVDm2OW2mQUqlbqu2tThCgI3wQwIbpoCxJzbvtHI/s1600/the-producers+jason+manford+louie+spence.jpg" height="311" width="320"></a></div>
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It's the greatest failure in the history of show business.... at least that's what it's supposed to be! 'Springtime For Hitler', the Neo-Nazi musical on the misunderstood Fuhrer is what lame producers Bialystock and Bloom intend to stage in order to rake in the remaining funds of a doomed Broadway musical in the smash hit Broadway musical - <i>The Producers</i>!</div>
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It's perhaps as confusing and seemingly irrelevant on paper as it is on stage, but much like the show that features within it, <i>The Producers</i> is a sure fire hit ... at least it is with a string of star names to it. </div>
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Here, the show is cast for entertainment value and it's stars take precedence over anything else. Top of the bill is Stand Up Comedian Jason Manford. Incredibly likeable as accountant-turned-Broadway Producer Leo Bloom, with a cartoony voice like a timid Mickey Mouse, he wins over the audience with what at first is a seemingly subtle performance that explodes in song - a perhaps surprising element to his performance, he wins over any doubters. </div>
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Manford is paired well with Cory English as Max Bialystock who is no stranger to the role. Experience is definitely ripe as he earns some of the biggest cheers of the night. Phil Jupitus is sometimes a little difficult to understand behind all the German but is humorous in his portrayal of pigeon keeper, Playwright, Hitler obsessive Franz Liebkind. </div>
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<div style="text-align: justify;">Stage veteran David Badella brings Broadway charm as only he can. His rich sound and smooth voice is something of his trademark and works particularly well with the role of Roger De Bris, a fabulously flamboyant image of the over theatrical, cross-dressing director. In a later, excellent turn as Hitler, hilarity breaks out in the show's most spectacular dance number - full of glamour, full of glitz and camp as.... well, they rhyme with glitz. </div>
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As if it wasn't already overly theatrical enough, Louie Spence ensures that you don't leave with your cravings for camp unsatisfied. His hilarious Carmen Ghia is something of an upstaging of almost everything but the audience lap up every pirouette, every backbend and bevel. </div>
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Finally, Tiffany Graves is excellent as Ulla, she's got it and she flaunts it. </div>
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The set is pretty minimal with a lot of moving going on behind a waving back cloth, it is distracting and clunky set pieces prove difficult to manoeuvre sometimes. A lot of this is covered up well with vibrant choreography however. Almost like a Bialystock and Bloom production with creased swastika laden curtains, the production doesn't boast the highest production values, but it doesn't matter. <i>The Producers</i> has been done far more lavishly before but here money has been well spent elsewhere with a well chosen, star cast and enthusiastic ensemble make this something of a sure fire hit! </div>
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Highly hilarious, farcical, at most times irrelevant, it shouldn't work but it does - much like the show it's about. An easy, fun and (most importantly) entertaining night at the theatre. At Birmingham New Alexandra Theatre until Saturday 25 April. Tickets <a href="http://www.atgtickets.com/shows/the-producers/new-alexandra-theatre-birmingham/" target="_blank"><span style="color: #999999;">here</span></a>. </div>
Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-28501956486696897972015-04-03T12:47:00.002+01:002015-04-03T23:30:47.703+01:00Review | RENT (Hutton Theatre) April 2015<div class="separator" style="clear: both; text-align: center;">
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Jonathan Larson's RENT has in recent years grown increasingly popular in the amateur and off-West End theatres. With a great number of productions popping up, you wonder perhaps what is the draw to a musical notorious in its focus on impoverished young artists under the shadow of HIV/AIDS. It is the sense of community that is most endearing and set to a powerful rock score its highly appealing on many levels, despite the ultimate focus on struggle. </div>
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Talking of struggle, to set this in the round has its challenges and here director Alastair Norton takes his focus on community and utilises the non-traditional performance space to emphasise that theme. In South Staffs Musical Theatre Company's latest production, you find yourself surrounded and ultimately part of the Bohemian world. For the duration, you're exposed and involved - the seats aren't the most comfortable, but neither is Bohemian life. It's a 360, immersive experience - a unique way to present a musical that is perhaps otherwise considered overdone. To disregard tradition and present an entirely new format is a brave move... but a risk well taken. </div>
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The space does have limitations and depending on where you're sat, sometimes crucial moments are missed. The only way to overcome this is to keep rotating the action which would eventually become tiresome - the emerging talent helps indefinitely to look past any sightline niggles - as a regular theatregoer you'd come to expect this in any round performance. </div>
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The cast is headed up by Matt Nicholas and Chris Eastup as Mark and Roger - one a documentary maker, the other a guitarist. Nicholas gives a particularly focused, endearing Mark while Eastup with his shadowy eyeliner is more toughened and impresses with a solid vocal performance. Eastup's duet with Lexie Bennett as Mimi is particularly beautiful, a heartbreaking and incredibly raw moment. Nicole Roberts also impresses as Maureen - a comic rendition of Over The Moon conjures laughter from the audience, invited to 'moo' with her. She is paired well with Abbie Rai as Joanne and between them manage to riff some notable lines of Take Me Or Leave Me. </div>
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Andrew Newton manages to keep a cold heart as Benny while at the opposite end, James Thomas is suitably flamboyant with a generous disposition as young drag queen Angel Schunard. Thomas works well with Simon McGee as Tom Collins and the pair deliver some tender and more lighthearted earlier moments. </div>
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Throughout the evening, vocals are controlled well to tackle the demands of the incredibly complex and rather high rock score - there are moments that don't meet vocal perfection but evidently, a lot of time has gone into solid harmony work from a dedicated ensemble. </div>
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This is a subtle RENT, you won't be overpowered by incredibly loud rock music from this band of five. What is usually loud, trashy and in-your-face is actually stripped back and interestingly, creates a more tender, susceptible production - much like the vulnerable personalities that these characters are trying to hide. It reveals and observes an unseen layer. </div>
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Ultimately, South Staff's RENT has been nurtured by director Norton, to be the best it can with venue and cast. And as the cast sing "Christmas bells are ringing..." for the final time tonight, the company then look forward to their next production, <b>White Christmas</b> at Wolverhampton Grand Theatre from 1 - 5 December. Tickets <a href="http://www.grandtheatre.co.uk/whats-on/musicals/white-christmas/" target="_blank"><span style="color: #999999;">here</span></a>. </div>
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<b>Rent Cast List: </b>Chris Eastup, Matt Nicholas, Simon McGee, Andrew Newton, Abbie Rai, James Thomas, Lexie Bennett, Nicole Roberts, Ellie Farmer, Niamh-Margaret McGowan, Kate Pingree-Webber, David Michael Ball, Marcus Perry, Dan Flaherty, Natalie Baggott, James Collins. </div>
Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-40588789108188338372015-03-25T22:59:00.004+00:002015-03-25T23:06:02.698+00:00Review | Cirque Eloize CIRKOPOLIS (UK Tour) March 2015<div class="separator" style="clear: both; text-align: center;">
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Cirque Éloize bring their circus to town this week, far from clowns throwing buckets of water, the most intricately trained team present a show that combines the worlds of circus, dance and theatre. In this, Cirkopolis we find ourselves trapped n the heart of a stern and imposing city in appearance, giant gears and dark portals symbolise a mechanism that crushes individuality. </div>
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We begin somewhere between imagination and reality. The day to day and the mundane life of city workers makes for a stark and repetitive opening ... it's like work life. The joy is in finding the little things that make a difference and offer something fresh. A little puppet presses a bell and provides momentary humour before the stage is flooded with rushing commuters. </div>
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It is when a female emerges from the crowd in a red dress that colour interrupts the monochromatic madness. A solitary moment she (Léa Toran Jenner) forlornly takes to the Cyr wheel and gives a heartfelt, emotional routine as she manipulates the wheel. It's incredibly lonely and suggests she wants to explore beyond the confines of her ring but even central hero, Ashley (Ashley Carr), is happy is happy to suppress his individuality in order to fit in. </div>
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It's easy to spectate and draw comparisons with your own life, but importantly, waiting in the wings are more colourful characters who along the way show Ashley and remind you that there is fun to be had. With a fearless ensemble, the evening is full of stunning aerial acts, the danse trapeze, juggling, the German wheel, teeterboard and Chinese pole - the foundations of circus skills are all there but this is far more sophisticated. </div>
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There's an impressive use of projection that depicts the industrialised floating city and through an increased intensity of light and the addition of colour, a vibrant finale ends these people's journey that thoroughly and most entertainingly progresses from the monochrome to a more elaborate, thrilling, high energy climax. With moments of pure tenderness and others of hilarity, Cirkopolis is both frantic and fantastically fascinating.<br />
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View the trailer</div>
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See Cirkopolis at Birmingham Hippodrome until Saturday 28 March. Tickets <a href="http://www.birminghamhippodrome.com/whatson_focus.asp?showid=1872" target="_blank"><span style="color: #999999;">here</span></a>. </div>
Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-56696482408585614032015-03-05T13:45:00.000+00:002015-03-05T13:46:16.638+00:00The cast of OKLAHOMA prepare for Comic Relief at Wolverhampton Grand Theatre!<div class="separator" style="clear: both; text-align: center;">
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As the critically-acclaimed national tour of OKLAHOMA! arrived at Wolverhampton Grand Theatre, members of the cast took time out from their busy schedule and put their toe-tapping skills to the test to take part in a special warm-up ahead of the first ever Comic Relief Danceathon this Sunday 8th March.</div>
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Nic Greenshields who plays Jud Fry in the show said: <i>“We simply couldn't resist getting involved to show our support for this year’s Red Nose Day. The Comic Relief Danceathon looks really fun so we would love everyone in the area to get involved and help raise some all-important cash.”</i><br />
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Lucy May Barker in the role of Ado Annie said:<i> “It’s always incredibly fun to get involved in Red Nose Day and this year will be no different. Simply pop on your dancing shoes this Sunday, grab your friends and get sponsored to dance along at home! </i></div>
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<i>“By taking part you’ll be making a huge difference to the lives of people right here in the West Midlands, in the UK and across Africa.”</i><br />
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The charity is calling on fundraisers to get together at home, in village halls, gyms or any location and dance non-stop for six hours. Fundraisers can follow a live, star-studded Danceathon at The SSE Arena, Wembley on the BBC Red Button. Over 2,000 fundraisers will dance non-stop at the fun filled Wembley event, hosted by Claudia Winkleman and with a host of famous faces set to join in too.</div>
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The money raised by the Comic Relief Danceathon will be spent across the West Midlands, all over the UK, and across Africa, helping vulnerable and disadvantaged people living incredibly tough lives. </div>
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For more information about the Comic Relief Danceathon and to book tickets or get involved where you are head to www.rednoseday.com/danceathon. For other ways to get involved this Red Nose Day or to really look the part, fundraisers can pick up the official Red Nose Day t-shirt from TK Maxx, and of course Red Noses from Sainsbury’s. Fundraising kits, giving pages and all the latest Red Nose Day stories are available from <span style="color: #999999;">www.rednoseday.com </span></div>
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OKLAHOMA! is on at the Wolverhampton Grand Theatre until Saturday 7th March, tickets <span style="color: #999999;"><a href="http://www.grandtheatre.co.uk/whats-on/musicals/oklahoma/" target="_blank"><span style="color: #999999;">here</span></a> </span>and <a href="http://oklahomatour.co.uk/" target="_blank"><span style="color: #999999;">on tour</span></a> around the UK until 8th August. </div>
Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-15045362623295063342015-02-26T20:24:00.001+00:002015-02-26T20:28:13.086+00:00Preview | WELSH NATIONAL OPERA Spring Season at Birmingham Hippodrome<div class="separator" style="clear: both; text-align: center;">
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A season of enchantment and delight is on offer from Welsh National Opera this spring with a trio of spellbinding productions which will come to Birmingham Hippodrome between 4-7 March 2015.</div>
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<i>Spellbound </i>is the theme for Spring 2015, which will highlight the natural affinity between music and magic with revivals of <b>Hansel & Gretel</b> and <b>The Magic Flute</b> alongside a new production: <b>Chorus! </b></div>
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<b>Chorus! </b>opens the opera company's Spring 2015 Season. This new version, also under the creative vision and direction of David Pountney, celebrates one of WNO’s greatest assets, the Chorus. <b>Chorus! </b>will feature soprano <b>Lesley Garrett CBE </b>performing alongside the WNO Chorus, and will be an enchanting, witty and spectacular journey through the rich repertoire of choral music and a chance to experience some of opera’s best-loved moments.<br />
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<span style="text-align: start;">The production will include opera classics such as the ‘Humming Chorus’ from Puccini’s <i>Madama Butterfly</i> and ‘Va Pensiero’ from Verdi’s <i>Nabucco</i> alongside the Epigraph from <i>Prokofiev’s War</i> and Peace and ‘Alabama Song’ from Weill’s <i>Rise and Fall of the City of Mahagonny.</i> Two pieces from Gilbert and Sullivan’s <i>The Pirates of Penzance</i> will also feature: ‘A Policeman’s Lot’ and ‘With Cat-like Tread’. <b>Chorus!</b> will be conducted by WNO Chorus Master, Alexander Martin.</span></div>
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View the trailer for Chorus!</div>
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Classic revivals of <b>The Magic Flute</b> and <b>Hansel & Gretel</b> will transport the audience into a world of magic, make-believe and delight, but are also ultimately about the power of rationalism over magic. WNO Music Director Lothar Koenigs will conduct both Hansel & Gretel and The Magic Flute.</div>
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Mozart’s much-loved <b>The Magic Flute</b> returns to WNO in this Magritte-inspired production – originally directed by Dominic Cooke – which features an angry lobster, a newspaper-reading lion and a fish that is transformed into a bicycle. The roles of the three boys will be sung by female students from the Royal Welsh College of Music and Drama as part of WNO’s partnership with the college to provide mentoring and support for its Opera Performance students.<br />
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View the trailer for The Magic Flute</div>
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The revival of Humperdinck’s <i>Hansel & Gretel</i> – originally directed by Richard Jones – is a dark re-telling of the well-known fairytale. Ailish Tynan will sing Gretel and Jurgita Adamonyté will sing Hansel. Adrian Thompson, who returns to WNO following his performances in Boulevard Solitude in Spring 2013, will sing the role of The Witch.<br />
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Listen to a sample from Hansel & Gretel</div>
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Describing the Spring season, WNO Chief Executive and Artistic Director David Pountney says: <i>“Enchantment is a feeling that awakens the child in all of us, and The Magic Flute and Hansel and Gretel offer plenty of such moments of naive delight. Both operas too, like all good fairy tales, have a serious point to make, and show a young couple learning how to read and understand the good and the bad that is in the world, emerging stronger and ready for a better future. Our production of Chorus! too is like one of those walks in the woods that are the common fare of fairy tales: where will it lead - is there a happy ending, or indeed an ending at all? It is in fact a kind of mystery tour in the company of 40 of our best and finest singers - so whatever the ending means, you can be sure it will be a rousing one!” </i></div>
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<b><u>PERFORMANCE DATES AND BOOKING LINKS</u></b></div>
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<b>CHORUS | </b>Wed 4 March <a href="http://www.birminghamhippodrome.com/WhatsOn_focus.asp?showId=1849" target="_blank"><span style="color: #999999;">Book Here</span></a></div>
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<b>THE MAGIC FLUTE |</b> Thurs 5 & Fri 6 March <a href="http://www.birminghamhippodrome.com/WhatsOn_focus.asp?showId=1850" target="_blank"><span style="color: #999999;">Book Here</span></a></div>
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<b>HANSEL & GRETEL | </b>Sat 7 March <a href="http://www.birminghamhippodrome.com/WhatsOn_focus.asp?showId=1851" target="_blank"><span style="color: #999999;">Book Here</span></a></div>
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<span style="font-size: x-small;">Image from Hansel & Gretel</span></div>
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Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-90079708737698599752015-02-24T00:17:00.000+00:002015-02-24T08:37:33.964+00:00Review | THE HISTORY BOYS (UK Tour) February 2015<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH1xN7t_7VP9QYYDu0tHQhb_9jcBWrmPjx-FQnc9q3k98vUnb9dDn75UPZLV7cDmg6s1ZNiX6r3k9kSrX3WHm_xsg9YEdv3e8Zcsdb65-vENVWDI4BTXHgEDw3HoujdzEe2yhFB77qNKBL/s1600/The+History+Boys+Sell+A+Door+National+Theatre.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH1xN7t_7VP9QYYDu0tHQhb_9jcBWrmPjx-FQnc9q3k98vUnb9dDn75UPZLV7cDmg6s1ZNiX6r3k9kSrX3WHm_xsg9YEdv3e8Zcsdb65-vENVWDI4BTXHgEDw3HoujdzEe2yhFB77qNKBL/s1600/The+History+Boys+Sell+A+Door+National+Theatre.jpg" height="320" width="320"></a></div>
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Alan Bennett's play about a Sheffield boys' grammar school in the early 1980s started life at the National Theatre. What is billed as 'the nation's favourite play' is perhaps so because of it's timeless nature. The play follows a group of history pupils preparing for the Oxford and Cambridge entrance examinations under the guidance of three teachers with very different styles of teaching. </div>
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For what is an obvious commentary of school at the time, it is apparent that behaviour and attitudes in Bennett's play are not far removed from our own days of education - regardless of era. Despite the familiarity within the classroom setting however, what is presented at times is far from realism... It would be difficult to imagine in a modern school, let alone one in the 80s whereby a student was openly 'seeing' the head teacher's PA and not merely an eyebrow is raised. </div>
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Without wishing to refer to the boys a stereotypes (for their characters are much deeper than that), the troubles within this group of eight would be recognisable in almost all classrooms and it's that familiarity that makes the two hours and forty minutes pass by quicker than break time. </div>
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You easily find yourself engrossed in this new production from Sell A Door. It's a play full of warmth despite darker undertones and with huge heart, it's humorous interludes are both lyrical and visual. Imagine for example, an explicit French scene - acted atop a desk without trousers, smoking... anything goes as Hector's lesson prepares the boys not for exams... but you can't help but like Richard Hope's enthralling English teacher Hector. Despite inviting the boys for unsavoury rides on his motorbike, Hope transpires Hector's wonderful way with words to the stage from the page in a affectionate portrayal. </div>
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Hollyoaks' Steven Roberts, in his stage debut is charming as Posner and Kedar Williams-Sterling as Dakin commands presence as the most advanced student. The subjects are all handled so tastefully and pieced together under the narration and piano playing of the excellent Alex Hope as Scripps. </div>
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This new production of the play voted the nation's favourite is entirely captivating, a production that shouldn't worry about being consigned to the history books. Far from the past, it's as ever relevant today. Even as a spectator you are in fact a pupil - learn from this masterpiece that reason for education (and ultimately great theatre) is to pass it on.<br>
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<b>Cast List: </b>Steven Roberts, Kedar Williams-Sterling, Alex Hope, David Young, Patrick McNamee, Sid Sagar, Joshua Mayes-Cooper, Matthew Durkan, Mark Field, Richard Hope, Christopher Ettridge, Suswan Twist, Chris Barritt, Melody Brown. </div>
Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-39536125304308941722015-02-09T23:07:00.001+00:002015-02-10T07:50:34.473+00:00Review | VINCENT AND FLAVIA DANCE 'TIL DAWN (UK Tour) February 2015<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiXDA6u8RYujdCqKK0sAG0BtY3wW-Uo9iAHGv8EZWzk3iMU9ISdBQiHwSH15n4vVMFEaD_im-wiS42TNpyNyDy2P5-ZqbBsWwt1Rh-LfaTGGYVcTGOPTckqjdcPxu3H1XtTzjIPaGY6wZs/s1600/Vincent+and+Flavia+Dance+Til+Dawn+Tour+DVD+Tickets.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiXDA6u8RYujdCqKK0sAG0BtY3wW-Uo9iAHGv8EZWzk3iMU9ISdBQiHwSH15n4vVMFEaD_im-wiS42TNpyNyDy2P5-ZqbBsWwt1Rh-LfaTGGYVcTGOPTckqjdcPxu3H1XtTzjIPaGY6wZs/s1600/Vincent+and+Flavia+Dance+Til+Dawn+Tour+DVD+Tickets.jpg" height="320" width="320"></a></div>
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<span style="text-align: justify;">After a hugely successful tour and West End residency, stars of Strictly Come Dancing, Vincent and Flavia return to the regional stage with style. Their trademark Argentinian Tango leaps into the golden age of Hollywood dance, film-makers putting them on the silver screen. Far from the late night bar of Buenos Aires - the setting of previous hit <i>Midnight Tango</i>,</span><i style="text-align: justify;"> </i><span style="text-align: justify;">the formidable pair take to the stage in 1940's L.A. as Sadie Strauss (Cacace) and Tony Deluca (Simone) - the romantic leads of a comedy about a beautiful starlet and her handsome beau.</span></div>
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Narrator Teddy Kempner is a familiar face in the Strictly duo's shows - here he plays Tommy Dubrowski whose humour is both witty and welcome between dramatic dance numbers. The gags can be cheesy but fit in with the exaggerated theme. There is excellent narration within the choreography - however, Kempner is expert at breaking up the already succinct action with excellent comic timing. </div>
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Abbie Osmon is Lana, who must get her hands on incriminating photographic evidence of her fling with Bobby Burns - the man Sadie is contracted to make films with... Osman, a natural powerhouse raises the roof with impressive vocals in her own take on recognisable classics such as That's Life. </div>
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The Strictly duo are effortless in rhythm, pace and finesse, completely at one with the soundtrack - the perfect blend of 'tangoed' favourites such as <i>Moon River, Stand By Me</i> and more recent hits Paolo Nutini's <i>Pencil Full Of Lead</i>, Caro Emerald's <i>That Man</i> and Bruno Mars' <i>Runaway Baby</i> is a great, high-energy climax to Act I. The live band are excellent - they can pack a punch and set a serene scene - the perfect accompaniment to Oliver Darley's musical interludes. </div>
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A dynamic ensemble master all aspects of the piece co-choreographed by the Strictly professionals and Karen Bruce, who also directed. A highlight is Cacace's routine without Simone but with the male ensemble - leaping from a staircase with wild abandon, she tears across the dance floor and is simply, strictly thrilling. </div><div class="separator" style="clear: both; text-align: justify;"><br></div><div class="separator" style="clear: both; text-align: justify;">There is a rustic, seemingly simplistic set by Morgan Large, who, as always ensures a surprise element from a gorgeous, clever design that transports you from the likes of a bustling film studio to a glamorous swimming pool bar and to a dowdy office in a mere instance. </div>
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At times you loose yourself in the dance show that could quite easily be a West End musical. This show is packed full of every element that makes a perfect night at the theatre. </div>
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View the shows trailer:</div>
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<i>Dance 'Til Dawn </i>is at Birmingham New Alexandra Theatre until Saturday 14 February. Book tickets <a href="http://www.atgtickets.com/shows/dance-til-dawn-2/new-alexandra-theatre-birmingham/" target="_blank"><span style="color: #999999;">here</span></a>. </div>
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<b>Cast List: </b>Flavia Cacace, Vincent Simone, Oliver Darley, Teddy Kempner, Abbie Osmon, Faye Best, Tyman Boatwright, Callum Clack, Ivan De Freitas, Ben Harris, Rebecca Lisewski, Jemima Loddy, Ian Oswald, Giovanni Spanó, Danny Stowell, Lauren Stroud, Lindsey Tierney, Gemma Whitelam. </div>
Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-67284950243297847552015-02-09T13:33:00.000+00:002015-02-10T16:15:05.204+00:00Preview | OKLAHOMA (UK Tour) First look at the cast!<div class="separator" style="clear: both; text-align: center;">
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First pictures have been released of the upcoming<b> OKLAHOMA</b> tour, featuring Gary Wilmot as Ali Hakim, Belinda Lang as Aunt Eller, Ashley Day (The Book Of Mormon) as Curly and Charlotte Wakefield (The Sound Of Music) as Laurey. </div>
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Touring the UK after premiering in Northampton, the production visits Wolverhampton Grand Theatre from Tuesday 3 - Saturday 7 March. <span style="color: #cccccc;"><a href="http://www.grandtheatre.co.uk/whats-on/musicals/oklahoma/" target="_blank">Click here</a> </span>for tickets. </div>
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<span style="color: #f1c232;">Ashley Day & Charlotte Wakefield</span></div>
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The cast also includes Nic Greenshields as Jud Fry, Lucy May Barker as Ado Annie, James O’Connell as Will Parker, Paul Grunert as Andrew Carnes, Kara Lane as Gertie Cummings, Christopher D Hunt as Cord Elam and Barnaby Thompson as Ike Skidmore.</div>
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The ensemble features Simon Anthony, Christina Bennington, Robbie Boyle, Katie Marie-Carter, Lisa Dent, Emilie du Leslay, Ian Gareth-Jones, Hannah Grace, Ross Lee Fowkes, Perry O’Dea, Sasi Strallen and Gabriella Stylianou.<br />
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<span style="color: #f1c232;">Belinda Lang</span></div>
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Hear our friends at The Milk Bar podcast talk to Gary Wilmot about his upcoming role:</div>
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The tour is directed by Rachel Kavanaugh - former Artistic Director of the Birmingham REP. She directed <i>An Ideal Husband</i> at the Chichester Festival Theatre last autumn. Other credits include <i>The Sound of Music</i> at the Regent’s Park Open Air Theatre, <i>Love Story </i>in Chichester and the West End, and <i>The Merry Wives of Windsor</i> for the Royal Shakespeare Company. </span><br />
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<span style="color: #f1c232;">Ashley Day</span></div>
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<span style="text-align: justify;">Dance numbers are given the Drew McOnie treatment, the highly acclaimed young choreographer's credits include <i>In the Heights</i> for Southwark Playhouse, <i>The Sound of Music</i> and <i>Chicago</i> for Leicester Curve, <i>Soho Cinders </i>at the Soho Theatre, and<i> Dames at Sea</i> and <i>On the 20th Century</i> at the Union Theatre. He recently launched his own theatre dance company, The McOnie Company.</span></div>
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<span style="color: #f1c232;">Gary Wilmot</span></div>
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<b>OKLAHOMA!</b>, with music by Richard Rodgers and book and lyrics by Oscar Hammerstein II, was based on the Lynn Riggs play Green Grow the Lilacs and was the first musical written by the duo. It was originally produced on Broadway in 1943 and the Academy Award-winning film was released in 1955. Set in the Oklahoma territory in the early 1900s, the musical tells the story of two sets of star-crossed lovers. Cowboy Curly loves Laurey, Aunt Eller’s niece, but Curly’s rival is the mysterious and dangerous hired hand Jud Fry. Meanwhile, Ado Annie is torn between cowboy Will and peddler Ali Hakim. Their stories are told with the help of some of the best loved songs in musical theatre history, including Oh, What a Beautiful Mornin’, I’m Just a Girl Who Cain’t Say No, Surrey With a Fringe on Top, Kansas City, People Will Say We’re in Love and the title song.</div>
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Photos by Pamela Raith. <span style="color: #cccccc;"><a href="http://www.grandtheatre.co.uk/whats-on/musicals/oklahoma/" target="_blank">Click here</a> </span>for tickets.<br />
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<b>SEE THE CAST IN REHEARSAL</b><br />
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<span style="color: #f1c232; font-size: x-small;">Ashley Day</span></div>
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<span style="color: #f1c232; font-size: x-small;">Lucy May Baker and Gary Wilmot</span></div>
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<span style="color: #f1c232; font-size: x-small;">Sasi Strallen, Drew McOnie and cast.</span></div>
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<span style="color: #f1c232; font-size: x-small;">Director Rachel Kavanaugh and Choreographer Drew McOnie</span></div>
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<span style="color: #f1c232; font-size: x-small;">Charlotte Wakefield and Ashley Day</span></div>
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Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-85266271544566782792015-02-02T23:17:00.000+00:002015-02-02T23:17:16.979+00:00Review | SPAMALOT (UK Tour) Review February 2015<div class="separator" style="clear: both; text-align: center;">
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Spamalot, Christopher Luscombe's latest incarnation of <span style="text-align: justify;">Eric Idle and Jon Du Prez's musical, lovingly ripped off from Monty Python's The Holy Grail, returns to Birmingham for a third time. Since it's 2010 premiere, the musical that is somewhat scaled back from the 2006 West End version is at it's most concentrated, hilarious and faultless best. </span></div>
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<span style="text-align: justify;">An outrageous conglomeration of various Python anecdotes from the other films and TV series, audiences are taken nightly on a journey across medieval Britain with King Arthur (Joe Pasquale) and his noble steed Patsy (Todd Carty) along with knights (not days, but knights) of the very round table on a quest to find the grail and eventually turn the whole thing into a musical...</span><br />
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You won't succeed in Birmingham if you don't have any stars and this production is full of them. Not only the big 'TV' name stars - Pasquale and Carty, but in the supporting cast. Sarah Earnshaw proves to be in phenomenal voice as the Lady Of The Lake - a stereotypical diva with excellent comic timing - a warm and much welcome addition to the cast. Carty is a subtle Patsy, running around and clonking his coconuts. He earns most of his attention when doing very little, he masters the part of the almost silent sidekick and delights with his rousing rendition of Always Look On The Bright Side Of Life. </div>
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Richard Kent shows his versatility not only as Not Dead Fred (who can dance, sing and do the highland fling) but also in a hilarious turn as the flamboyant Prince Herbert - with an incredibly strong falsetto. Jamie Tyler is excellent not only as Sir Lancelot but as the Knight Of Ni, Tim The Enchanter and as the side-splitting French Taunter.<br />
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With Joe Pasquale firmly at the helm you can expect high volume hilarity and two hours of absolute fun. Pasquale is almost like his pantomime characters, the loveable jester, but here he finds himself King, which lends well to the insane plot... in what other musical would you find a scene-stealing Mary Berry mincing about with a trolley of cakes!?<br />
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Hugh Durrant has created the most charming little set and there's a fine orchestra. It doesn't drag on either, at two hours long Spamalot is just concentrated hilarity from start to finish. It's as camp as the Camelot YMCA, it's bold, it's British (and a little bit French) and you'll laughalot til you cryalot.<br />
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At Birmingham's New Alexandra Theatre until Saturday 7 February. Tickets <a href="http://www.atgtickets.com/shows/spamalot-2/new-alexandra-theatre-birmingham/" target="_blank"><span style="color: #999999;">here</span></a>.<br />
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<b>Cast List: </b>Joe Pasquale, Sarah Earnshaw, Todd Carty, Will Hawksworth, Richard Kent, Richard Meek, Jamie Tyler, Josh Wilmott, Daniel Cane, Abigail Climer, Matthew Dale, Holly Easterbrook, <a href="http://theatreblogonline.blogspot.co.uk/2013/03/cats-uk-tour-make-up-becoming-coricopat.html" target="_blank"><span style="color: #999999;">Richard Astbury</span></a>, Ste Clough, Inez Mackenzie</div>
Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com1tag:blogger.com,1999:blog-2772783258547686675.post-91467112652168712322015-01-26T23:59:00.000+00:002015-01-27T00:32:35.955+00:00Review | RETURN TO THE FORBIDDEN PLANET (UK Tour) January 2015<div class="separator" style="clear: both; text-align: center;">
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It's like Dreamboats and Petticoats, for Star Wars fans... but this came first. It's the West End musical that opened at the Cambridge theatre in 1989 and won Best West End Musical at that year's Olivier Awards - beating Miss Saigon.... that in itself is quite bizarre but nothing can quite prepare you for 3 hours of Shakespeare's The Tempest set aboard a spaceship. </div>
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The storm, a meteor shower, causes them to land mysteriously on the planet D'Illyria where they meet mad scientist Doctor Prospero, who has been marooned on the planet - the story continues to the plot of The Tempest and manages to stall what would otherwise be a decent concert. </div>
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Rodney Ford's set is interesting enough, but after three hours is a little static, cast tend to be just stood around, or playing a trumpet in the background but musically, the production impresses. Mark Newnham particularly shines as Cookie and Joseph Mann is humorous as robot Ariel. Sarah Scowen is in fine voice as Miranda and Queen guitarist Brian May appearing on a screen as the narrator is an added highlight. </div>
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<i>Return To The Forbidden Planet </i>may have paved the way for other actor-musician musicals (of which there is now an abundance) and similarly dystopian musicals such as <i>We Will Rock You</i> but the success of the more modern musical relies on less cringeworthy ideas of sci-fi than a robot that looks rather like the Tin Man, hairdryer guns and the batting around of an inflatable ball. Musicals have moved on but Forbidden Planet and it's core audience haven't - they love it and there's a lot for them to love. The musicianship is excellent, vocals are top-notch but the production boasts little to impress or engage a new, younger audience. It's ultimately tacky, but a full standing ovation at the end cemented the fact that an audience have come, had fun and enjoyed themselves.</div>
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At Birmingham's New Alexandra Theatre until Saturday 31 January. Tickets <a href="http://www.atgtickets.com/shows/return-to-the-forbidden-planet/new-alexandra-theatre-birmingham/#overview_tab" target="_blank"><span style="color: #999999;">here</span></a>. </div>
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<b>Cast List:</b> Steve Simmonds, Sean Needham, Christine Holman, Greg Last, Mark Newnham, Jonathan Markwood, Joseph Mann, Sarah Scowen, Georgina Field, Callum Hughes, David Heywood, Brian May, Hannah Howcroft. </div>
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Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-70135593343055845022015-01-14T23:53:00.000+00:002015-01-14T23:55:39.146+00:00Review | EAST IS EAST (UK Tour) January 2015<div class="separator" style="clear: both; text-align: center;">
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East Is East, the comedy-drama by Ayub Khan Din was first produced by Tamasha Theatre Company in co-production with the Royal Court and Birmingham Repertory Theatre in 1996. Returning to Birmingham some 19 years later, it appears that Din's semi-autobiographical piece is as ever-relevant today in it's latest incarnation fresh from a three month run at the Trafalgar Studios. </div>
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The play and subsequent film is often cited as one of the key works to bring Asian culture to mainstream British audiences and despite the variation in cultures attending, the play is welcoming on all parts with an equal dash of humour and good heart. It is highly comic as we see George Khan (played by writer Ayub Khan Din) struggle to cope with the changing world but at the same time, it takes it's toll and strains within the family unit make for some perhaps unexpected, harder hitting scenes.<br />
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It appeals on many levels, for it's much deeper than a mere opportunity to laugh at dated tradition. There are definitely stereotypes at the core but played with such conviction, notably the excellent Jane Horrocks as Khan's long-suffering wife Ella, you're wanting to reassure her of her credibility as a mother when she's left questioning her weakness in allowing her son to be circumcised as a religious rite. </div>
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"Draw us a foreskin then!" cries only daughter Meenah to her art student brother Saleem. The children are bold and brash as they test new waters and attempt to overcome confusions about identity defining themselves as Pakistani, British and Muslim. understudy Deepal Parmar holds her own against the boys as a strong presence in the household as Meenah. There is also an endearing performance from Michael Karim as Sajit - a recluse in his own Parka coat.<br />
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Hilarity ensues at a climactic tea party between the Khan's and the parents of two sisters betrothed to brothers Abul and Tariq. I rarely laugh out loud, it takes a lot, but the hilarity is outrageous and altogether sidesplitting.<br />
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Mention must also go to designer Tom Scutt’s brilliant set - a cross between Coronation Street and Blood Brothers, the Salford terrace and chip shop that further authenticates the world in which you must escape to for a life affirming tale of one man's love for his family.<br />
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At Birmingham New Alexandra Theatre until Sat 17 January and then Richmond Theatre and Manchester Opera House - tickets for all venues <a href="http://www.atgtickets.com/shows/east-is-east/" target="_blank"><span style="color: #999999;">here</span></a>.<br />
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<b>Cast List:</b> Taj Atwal, Sally Bakes, Nathan Clarke, Jane Horrocks, Michael Karim, Johndeep More, Ayub Khan Din, Ashley Kumar, Darren Kuppan, Rani Moorthy, Amit Shah, Hassani Shapi, Pamela Bennett, Deepal Parmar, Ash Rizi, Karl Seth.<br />
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Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-31475213829434890992014-12-03T00:33:00.002+00:002014-12-03T00:33:44.915+00:00Review | WEST END WOMEN (UK Tour) December 2014<div class="separator" style="clear: both; text-align: center;">
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It's a simple premise - three West End legends on stage, a small band and a guest star... it's not entirely elaborate but boy does it pack punch. Three of the most sensational voices in world theatre unite to deliver a plethora of huge hits from the greatest musicals. </div>
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<b>Ria Jones </b>was just 19 when she became the youngest actress ever to play the role of Eva Peron in <i>Evita</i> - followed shortly by her West End debut in the musical <i>Chess</i>, in which she played the roles of both Svetlana and Florence. She then went on to play Grizabella in <i>Cats</i>, a role in which <b>Joanna Ampil</b> recently finished touring the UK and Europe in. Joanna made her West End debut at the age of 17, replacing Lea Salonga as Kim in the original London production of <i>Miss Saigon</i> - other shows include <i>Les Miserables, Jesus Christ Superstar</i> and <i>Avenue Q</i>. <b>Kerry Ellis</b> completes the line-up, fresh from her own <a href="http://theatreblogonline.blogspot.co.uk/2014/10/review-kerry-ellis-in-concert-uk-tour.html" target="_blank"><span style="color: #999999;">solo concert tour</span></a> and another run as Elphaba in <i>Wicked</i>. </div>
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All of the ladies treat us to songs from the shows in which they were once a part, memorably Ria Jones' rousing All That Jazz from <i>Chicago</i> and <i>As If We Never Said Goodbye</i> from Sunset Boulevard which ensure that you leave the theatre having found a new favourite star and YouTube immediately. Utterly fabulous. </div>
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<span style="color: #e69138; font-size: x-small;">Joanna Ampil, Ria Jones & Kerry Ellis</span></div>
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Kerry Ellis treats audiences to a stripped back version of Defying Gravity and changes things up by singing the Glinda part of <i>Wicked's</i> For Good with Joanna Ampil as Elphaba. Joanna's version of Memory from <i>Cats </i>continues to be my favourite rendition and this show just confirms it further that this song belongs to her. My only wish is that this came later in the show, some of the earlier big numbers are mightily impressive and would have been better placed towards the show's latter half and climax. The biggest treat that Ampil offers is a medley of songs from <i>Miss Saigon</i> that she first performed 22 years ago - ending with a hair-raising Bui Doi. </div>
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The ladies all share one particular role in common - they have all played Fantine in <i>Les Miserables </i>and their group performance of I Dreamed A Dream introduces new harmonies and sounds beautiful in their alternative format. The three voices blend perfectly and other group songs One Night Only and Dancing Queen are just as delightful. </div>
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Joined by incredible backing vocalists Joel Harper-Jackson and Beth Humphries (equally deserving of their own spotlight) and regularly by guest Rory Taylor, songs from <i>Jesus Christ Superstar</i> and <i>Rent</i> are added to the mix to make this the perfect celebration of Musical Theatre. A thrilling evening at the theatre with glitz, glamour and all that jazz! Simply sensational. </div>
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<b>Joanna Ampil - Memory</b></div>
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Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-18285230173192415992014-11-20T00:03:00.003+00:002014-11-20T00:04:10.360+00:00Review | CARMEN (Welsh National Opera) November 2014<div class="separator" style="clear: both; text-align: center;">
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<i>Carmen</i>, the opera was first performed at the Opéra-Comique in Paris, on 3 March 1875, and at first was not particularly successful. Judging by attendance numbers this evening, things have since changed as a packed-out theatre eagerly awaited the passionate piece.<br />
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At the front of it all is Don José, a naïve soldier who is seduced by the fiery Gypsy, Carmen. José abandons his childhood sweetheart but yet loses Carmen's love to the glamorous toreador Escamillo, after which comes a much foreboded killing.<br />
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This revival of Welsh National Opera's 1997 production has everything going in terms of talent. An immense cast make up an impressive ensemble and lead performers with Alessandra Volpe as Carmen are quite obviously world class.<br />
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Entirely sung in French the production, like many operas can be hard to follow. Surtitles in English are at the top of of the proscenium but you find yourself deciding on whether to look up and miss the action or try and follow the story without understanding. For a first time opera-goer it can be a little overwhelming but by the end of a much faster paced second half, the climax does manage to leave the heart aching.<br />
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The set uses Goya inspired backdrops to suggest the intensity of 19 Century Spain. It's hardly elaborate and doesn't change throughout - there are no concerns that focus won't be on the performers, there's little else to look at. The biggest delights are the young boys, in perfect harmony as street urchins and the fine orchestra, conducted by a young James Southall. The famous tunes impress, such as Toreador which is a welcome, more upbeat moment also Habanera.<br />
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It's a dark tale but one with enough to make your evening enjoyable. A night of raw passion, played out by a stellar cast. At Birmingham Hippodrome until 20 November. For a full list of WNO performances, click <a href="http://www.birminghamhippodrome.com/default.asp?Id=240&sC=page1" target="_blank"><span style="color: #999999;">here</span></a>. </div>
Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com0tag:blogger.com,1999:blog-2772783258547686675.post-21550597781816608572014-11-19T16:23:00.003+00:002014-12-05T09:18:13.280+00:00Review | BILLY ELLIOT LIVE (DVD/BluRay) November 2014<div class="separator" style="clear: both; text-align: center;">
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<i>Billy Elliot </i>first hit screens in 2000, 14 years on the winner of Best British Independent Film returns to screens but in an entirely different way. In 2005 a musical version of Lee Hall and Stephen Daldry's heart-warming British story hit the West End stage and hasn't looked back. in an incredibly successful 9 years, the production with music by Elton John recently celebrated its 4,000th performance and was streamed live into cinemas across the UK on Sunday 28 September 2014 and subsequently around the world. The DVD release of the broadcast, starring Ruthie Henshall as Mrs Wilkinson is out on 24 November. </div>
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What has previously struck me about stage recordings on film is that live broadcasts can have an underwhelming rawness about them. Often a sense of lack of camera rehearsal, with limited angles while pre-recorded ones are often too cinematic and you loose the staged element. Billy Elliot Live fits perfectly in between and is beautifully captured. When you see the show live, the intimacy of the production is one of the key factors that draws you into 1980's County Durham and ensures you're right there in Billy's world - this is no different. Whilst some would argue that recordings in no way compare to the live event, the draw of these releases is the opportunity to see up close the excellent acting ability, facial expression and precision of dance technique that you just aren't going to get from the back of the stalls... including some stunning areal shots of the action on stage. </div>
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I remember reading The Guardian's 2005 review of the production, questioning the flying section of the dream ballet, calling to declare the West End a "no fly zone". The breathtaking act 2 sequence is the perfect example of why a recorded version of Billy Elliot is so special, you swoop around the stage, experiencing Billy's flight as you never would - all from the comfort of your sofa. It's a completely different experience to being in the theatre and I don't think you can accurately argue which is better - for this is one entirely unique way to view the show. For this performance only, original Billy Liam Mower returns to play older Billy and it's a beautiful moment, seeing his journey and growth as a dancer, returning to dance with the boy he used to be. Despite that, I do feel for the excellent long-serving cast member Barnaby Meredith, who, for this reason, wasn't able to perform his version of the ballet on film. There is however something about two boys doing ballet together that speaks volumes for acceptance and individuality - a theme that's right at the heart of the show.<br />
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There is an incredible performance from the young Billy - Elliott Hanna who was only 10 years old when he made his first appearance in the show - making him the youngest boy to ever play the role. Hanna comes across very well on screen as an obvious triple-threat performer. His sheer talent and undoubted cheekiness defines him as one of the ultimate Billy Elliot's. Ruthie Henshall delivers all the twists and turns of Mrs Wilkinsons life, she can be both glamorous and utterly exhausted as she tries tirelessly to win over Billy's father - Deka Walmsley. Ann Emery, who has been with the production since it's beginnings is as ever, excellent and provides great comedy as Grandma. Zach Atkinson steals much of the number 'Expressing Yourself' as Michael, a lovable portrayal of Billy's cross-dressing friend.<br />
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Perhaps the large-scale success of Billy Elliot is down to it's heart. The production is not overly "showy", glitzy or full of tricks, it's brutally honest and at times is gut-wrenching, devastating but it instils hope and this recording stays true to the theatrical experience and delivers the same amount of emotion. This is a unique opportunity to experience the stage show as you've never seen it before. </div>
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This recorded production ends with an incredible dance 'mash-up' presented by 25 current and former Billy's - a fusion of dance styles that makes for a thrilling end to the show. Exclusively for this filmed performance, there's a palpable sense of unity as this exclusive community all join in unison for the rousing tap section. </div>
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Extras include a 'behind the curtain' look into the making of the musical, it's less of a backstage feature as the name might suggest but insightful interviews with Elton John, choreographer Peter Darling and the rest of the creative team and cast including Ruthie Henshall. There is also an introduction from Billy himself, Elliott Hanna who takes you from the stage door onto the stage, and backstage - revealing some of the secrets from the show. </div>
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If you get this as a present for Christmas, whatever you do - don't, like Michael, swap it for a Cindy The Nurse! Out on 24 November. Purchase <a href="http://www.amazon.co.uk/Billy-Elliot-Musical-Elliott-Hanna/dp/B00NXR1EHA/ref=sr_1_1?ie=UTF8&qid=1416413972&sr=8-1&keywords=billy+elliot+live" target="_blank"><span style="color: #999999;">here</span></a>.<br />
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<span style="color: #cc0000; font-size: x-large;"><b>PLEASE NOTE THE FOLLOWING COMPETITION HAS NOW ENDED.</b></span></div>
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From reading the review, or by watching the clip below with director Stephen Daldry, simply tell us <b>how old was Elliott Hanna when he first started playing the role of Billy? </b>Submit your answer via the contact form at the bottom of the blog with your name, email address and answer in the 'message' box. Only one entry per person. 2 lucky winners will be selected from correct entries at random to win a copy of Billy Elliot Live on DVD. Closing date for entries is 23:59 on Thursday 4 December 2014. Good luck!<br />
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Theatre Bloghttp://www.blogger.com/profile/04654525988864499602noreply@blogger.com2tag:blogger.com,1999:blog-2772783258547686675.post-9467792232966644972014-10-31T20:45:00.003+00:002014-10-31T20:49:19.225+00:00Review | MICHAEL BALL - IF EVERYONE WAS LISTENING (Album) October 2014<div class="separator" style="clear: both; text-align: center;">
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From a career spanning 30 years, if there's one thing that Michael Ball is good at, time and time again it is surprising his audience with a completely different concept, character or sound. From strutting high in the heels of Hairspray's Edna Turnblad to slitting throats as demon barber Sweeney Todd there seems no end to the capabilities of the musical theatre veteran. </div>
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Chart success with such hits as Love Changes Everything may for some confine Michael into the musical theatre ballad but for those familiar with the multi Olivier Award-winning performer it would come as no surprise that his latest album, <i>If Everyone Was Listening </i>is yet again unlike the previous 19 solo albums.</div>
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The first track, Bad Things is the theme tune from the TV series <i>True Blood</i>. It sets the tone for the album with a distinct country feel, a swaying rhythm and it's cool, it's easy listening and gets the things started with a real current sound. Never one to play safe, it is in complete contrast to the second track, Simple Love, a look back to a time when life was simpler - it is perfect storytelling. There's little in the way of expected, powerful and belting vocals - he's been there and done that, many have got the t-shirt and when you're as good a storyteller as Michael, the subtlety of the sound is just as captivating.</div>
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From years spent as an actor, telling a story is something that comes natural to Michael and it seems that all of the songs, carefully selected, have a good one to tell. When you consider the track list there is an even mix of both old and new. The album proves that decent songs are still being written - something that right now is so easy to forget. A perfect example is the seventh track, Sugarland's Stuck Like Glue from 2010 which is a welcome upbeat country tale of devoted love.</div>
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As well as the title song, a particular highlight is a collaboration with The Overtones. Let It Be Me is beautiful, it has the ultimate feeling of fantasy. Whilst none of it is breaking the musical mould, it doesn't have to. It's comforting, like an old friend, soothing with a beautiful blend of harmonies and without being too soppy, it's bliss. </div>
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Recently Michael supported new musical <i>From Here To Eternity </i>with the release of single Fight The Fight, he doesn't disappoint theatre fans and ends the album with another nod to a relatively new musical <i>Once</i>. The beautiful Falling Slowly is the perfect, subtle finale to end what is a masterful, compelling collection.</div>
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This is less of what you'd expect from the musical theatre legend but that's ultimately why it's so great, and sets it apart. The album is timeless, much like the man behind it all. Michael Ball established himself as one of the staples of musical theatre and now with such undeniable versatility, one of Britain's most well respected voices. </div>
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Behind the scenes on the album:</div>
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The album is released on 17 November. You can pre-order it <a href="http://www.amazon.co.uk/gp/product/B00NXR809A" target="_blank"><span style="color: #999999;">here</span></a>. </div>
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