It’s an amazing time for diversity of style in “musicals” on both sides of the pond. Hamilton’s hip-hop, street poetry, storytelling, David Yazbek’s middle-eastern infused charmer The Band’s Visit, Jeanine Tesori’s Fun Home (newly arrived at London’s Young Vic while her dazzlingly original Caroline Or Change plays at the Playhouse Theatre).
Comparing Notes brings stars of the West End and Broadway to Pizza Express Live Holborn. In a lively and informal mix of performance and conversation host Edward Seckerson will be getting up close and personal with these musical theatre luminaries, exploring the stories behind the songs and the personalities behind the artistry.
With such songs comes great responsibility and of the many things that makes the West End arrival of Dreamgirls such a dazzling affair we must first applaud the casting. Every soul on the Savoy stage sounds and looks dynamic – and I mean dynamic. There really cannot be a better ensemble in the West End right now.
You almost wonder where this show can possibly go when the opening number is so strong, so emotive, so damn heartbreaking. Cathy is “Still Hurting” from the break-up of her relationship with Jamie and Samantha Barks is already singing the crap out of her darkest hour when we’ve barely settled in our seats
Patricia Routledge trained not only as an actress but also as a singer and had considerable experience and success in musical theatre, both in this country and in the United States of America. Her many awards include a Tony for her Broadway performance in the Styne-Harburg musical Darling of the Day and a Laurence Olivier Award for her performance in Leonard Bernstein’s Candide.
Well over a decade ago Stephen Sondheim expressed some interest in turning the movie Groundhog Day into a musical. Presumably he, too, would have turned to the movie’s scriptwriter Danny Rubin for the book – it is, after all one of those iconic screenplays, as inseparable from the talents of Bill Murray as it might … [Read More]
Strictly speaking it should have been billed as “Ramin Karimloo and Broadgrass at the London Palladium” – then we might have anticipated the support act and late arrival of the West End and Broadway star known especially for having journeyed through pretty much every principal role in The Phantom of the Opera (and, of course, its sequel Love Never Dies) and Les Miserables.