As theatre next week starts to finally edge cautiously out of a full lockdown of over five full months, plus only very intermittent appearances in the nine months before that, the question arises will the audiences be there for it?
Linzi Hateley – who starred in the original London Palladium production of Joseph and the Amazing Technicolor Dreamcoat – will make a return to the musical during the show’s strictly limited season at the theatre.
The full cast has been announced for the forthcoming world premiere production of Andrew Lloyd Webber’s Cinderella, featuring music by Lloyd Webber, book by Academy Award-winning Emerald Fennell and lyrics from David Zippel.
Casting has been announced for the return of The Phantom of The Opera to its West End home, Her Majesty’s Theatre, on 27 July 2021. Lucy St Louis will play Christine Daaé and Rhys Whitfield will play Raoul. They join the previously announced double Olivier Award nominee Killian Donnelly as The Phantom.
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The post April 27: The rotten stench of contempt for people, from the government to its people and from producers to their orchestras and audiences first appeared on Shenton Stage.
When The Phantom of the Opera was unloaded from the Her Majesty’s Theatre last year, it produced the forlorn sight of the original Phantom chandelier resting on the pavement outside the theatre instead of poised over the proscenium from which it famously comes crashing down over the heads of those seated in the stalls.
Alexandra Burke will return to the West End this summer in the new production of Andrew Lloyd Webber and Tim Rice’s musical Joseph and the Amazing Technicolor Dreamcoat, running at the London Palladium from 1 July (gala night is 15 July) to 5 September 2021. Burke joins Jac Yarrow who is back in the title role and Jason Donovan who returns as Pharaoh.
Today, for the first time since the mid-December lockdown brought the shutters down on most forms of social interaction in public, including the closure of non-essential shops, pubs, restaurants, theatres, cinemas, museums and galleries, Britain is beginning the process of edging out of those some of those restrictions.
We’ve all got them: things we enjoy — sometimes mightily — that it’s just a little bit embarrassing to admit to liking. Like admitting, in my case, a massive passion for Selling Sunset, the real estate reality TV show set in the cramped offices of an LA boutique agency that sell houses to millionaires and billionaires. (But somehow seem to work cheek-by-jowl in a tiny office on Sunset Boulevard).
In a feature for The Stage earlier in the week, Jessica Korvavos, president of Andrew Lloyd Webber’s Really Useful Group, was asked to sum up the last year: “A year when singing and dancing in public have been against the law? It’s been like a horrible dystopian cross between Footloose and Groundhog Day.”
There’s no question that, apart from his undoubted brilliance as a composer of instantly memorable melodies, Andrew Lloyd Webber’s greatest gift is as (self) publicist. He’s just wonderful at getting people to speak about him and his shows; and thereby promote them.
Voting has just begun for last year’s Tony Awards. Yes, you read that correctly. And no, there is no date for the actual (or even virtual) ceremony yet. In the topsy-turvy world that Covid-19 has wrought upon us, we’re wrestling with all sorts of improbabilities and impossibilities, but few events epitomise the very strangeness of this time and its repercussions than this weird situation.
Andrew Lloyd Webber has begun rehearsing his brand new musical Cinderella, stating he hopes the move will give other producers “confidence to follow suit by getting major musicals back open”.
My latest ShenTens is particularly bittersweet, as we can’t actually go to any at the moment: my favourite West End theatres.
Polydor Records has announced the release of the third piece of music from the forthcoming album of Andrew Lloyd Webber’s Cinderella. ‘I Know I Have A Heart’ is sung by Carrie Hope Fletcher and is released today (12 February 2021).
Dazzling from start to finish, the high quality of the performances, music and of course the venue featured in Musicals: The Greatest Show reminded us why exactly we are missing the theatre.
Far from returning to ‘normal’, the latest rush in trying to re-open theatres – albeit under supposedly Covid-secure conditions – seems to have created a further climate of chronic uncertainty and even more financial losses.
I’ve launched a brand-new weekly podcast, called ShenTen, in which I will countdown my personal top tens in different theatrical categories.
Now that I’m getting into a rhythm on these daily columns, I’m going to try to introduce some regular features. And starting today, I’m planning on launching the week with column of disparate “diary” items — some fun, some not, that of stories that have made the news in the previous week.
The Stage has unveiled its annual The Stage 100 list. The list has been re-imagined this year to celebrate individuals who have gone above and beyond in helping theatre survive the biggest crisis the industry has ever faced.