We should celebrate the fact that within the space of a year London has played host to stagings of not one but two Sondheim masterpieces that have all but redefined them in theatrical terms: Company and Follies.
From Coldplay to Claude Debussy, crossover soprano Justine Balmer’s debut album Simple Thing is a collection of songs that work well together.
I was a little late to the party in respect of Vladimir Jurowski’s scintillating new recording of the original 1877 version of Tchaikovsky’s Swan Lake with the State Academic Symphony Orchestra of Russia (Yevgeny Svetlanov’s orchestra) but I’ve been much absorbed by it, thrilled by it.
I’m not quite sure how I managed to miss Hadestown at the National Theatre before it transferred to Broadway, where it has picked up 14 Tony Award nominations.
Virtual reality might be the largest innovation the theatre has seen in a long time, and it’s happening on your sofa.
Leonard Bernstein and André Previn very different animals. But their completeness as musicians, their ability to embrace and cherish music of spectacularly diverse genres, their connection with popular culture, their many and varied gifts as conductors, composers, pianists, and impossibly eloquent commentators make them kindred spirits in so many respects.
Featuring some gorgeous arrangements and powerful vocals, this cast recording of Tina – The Tina Turner Musical is well worth listening to.
In Joyce DiDonato’s album Songplay we have the epitome of what we Brits call a ‘Marmite’ experience with elements to love and/or loathe whether or not you buy the concept in the first place.
New York City Center Encores – an NYC haven for neglected or forgotten shows – have now revived Brigadoon six times, a testament to its enduring appeal, and this latest manifestation with the delectable Kelli O’Hara as Fiona is most welcome.
Eileen Page first played Eleanor of Aquitaine in 1964, but it wasn’t until many years later, when she was 70, that she first laid claim to the one-woman play that has so firmly associated her with the role. Have a look at and listen to our interview with her as that legendary performance is now released on audio by B7 Media.
“A superlative performance”. For over twenty years, Royal Shakespeare Company veteran Eileen Page became firmly associated with Eleanor of Aquitaine, thanks to Catherine Muschamp’s one-woman history play. Page gave her final stage performance in the role last year at Tara Theatre. As that legendary performance is now released on audio by B7 Media, here’s a snapshot of what critics say.
Royal Shakespeare Company veteran Eileen Page gave her final stage performance last year at Tara Theatre, reprising her legendary performance in one-woman history play Eleanor of Aquitaine. Tara Arts has teamed up with independent producer B7 Media to release an audio version of Page’s performance, now available to purchase on CD and digital download (priced £9.95).
“It’s so rare these days to see a play about optimism,” the wonderful actor Malcolm Sinclair told me after a performance of Gently Down the Stream at the Park Theatre.
I have often been asked if I listen to music differently when reviewing or not reviewing. It’s an interesting question. There is, you could say, a heightened level of awareness when ‘in working mode’.
The recent revival of The Gershwins’ Porgy & Bess at English National Opera and the prospect of comparing all its available recordings in BBC Radio 3’s Record Review has prompted me to look a little deeper into this landmark score and to reassess its significance in the chronology of American music theatre.
Renée Fleming’s choices are shrewd and wide-ranging in her Broadway album, embracing the contemporary and the classic in pretty much equal measure whilst demonstrating that style in this repertoire probably has more to do with attitude than technical adjustment. More, but not all.
In this episode of The Show People Podcast, host Andrew Keates has teamed up with Alexa Morden and Katie Elin-Salt of The 98% Podcast to bring you a very special Christmas crossover episode.
It’s the earnestness that doesn’t ring true in Simon Rattle and LSO’s recording of Bernstein’s Wonderful Town, the way in which that which should come naturally simply sounds overworked.
I’m not sure who we apply to for these things but I really would like to see Norm Lewis return to the West End stage – I didn’t catch him in Les Mis but I did get the briefest look at him at a Lance Horne concert so Santa if you’re listening… In the meantime, we have to make do with the many pleasures of The Norm Lewis Christmas Album.
In this episode of The Show People Podcast, host Andrew Keates is joined by choreographer and former head of dance at the Mountview Academy of Theatre Arts – Sam Spencer-Lane.