Nearly a century since his heyday, music hall legend Fred Barnes takes to the stage again at one of the capital’s best-known variety addresses, Wilton’s Music Hall, in Olivier Award winner Christopher Green’s new show Music Hall Monster. Who was the man himself? Why did his life and career end so sadly? Why is he largely forgotten?
For 11 performances only this month, Olivier Award-winning cabaret artist Christopher Green returns to Wilton’s Music Hall this week with a strictly limited season of Music Hall Monster, his tribute to the infamous and ill-fated 1920s music hall singer Fred Barnes.
Two-time Tony Award nominee and two-time Golden Globe Award winner Kathleen Turner brings her one woman show Finding My Voice to London. Produced by Fane Productions, the first preview is April 17th and the show will run for 3 weeks at The Other Palace. Finding My Voice will also tour 6 regional venues.
With the two headliners of this show – Will Young and Louise Redknapp – being bona-fide British primetime celebrities and regular tabloid fodder, its no wonder that Edinburgh turned out in force to see Cabaret, director Rufus Norris’ latest show.
Erin Markey is a darling of the New York performance art, comedy and cabaret scenes. With an established, devoted fan base, her work has been lauded by publications such as the New York Times and Time Out.
The rise of fascism is extremely prevalent in Rufus Norris’ production especially the chilling final scene of act 1 when the Emcee turns into a puppet master.
Cabaret is a show which has had many a revival and many a cast recording made from those productions but it is Rufus Norris’ 2006 interpretation that seems to have lingered the longest; a new touring version starring Louise Redknapp and Will Young starts at the New Wimbledon in late September.
Camille O’Sullivan is gravelly, gritty and full of angst. She growls through a gorgeous set of songs by songwriters that inspire her – Nick Cave and Leonard Cohen top the list. It starts like a funeral wake, O’Sullivan clad in a velvet robe embossed with Bowie and Prince.
If you find yourself anywhere in the vicinity of Reuben Kaye when he is performing, run. Run fast and don’t look back. If you make eye contact and the divine devil that is Kaye himself engages you with a sinister smirk, a heavily eyelashed wink and a seductive smile, you are lost to us all.
Pageant is the light-hearted, saccharine, glittery music depiction of the Miss Glamouresse beauty pageant, with all of the contestants having a little more to offer than your usual beauty queen.
Cat Loud stands and delivers a flawless a cappella performance, a bluesy voice overflowing with restrained pain at being eternally damned. Every syllable is subtly tinged with sadness, a resigned lack of hope that only a true jazz singer can muster.
“Who else is menstruating? We can be blood sisters tonight.” Lily Phillips is without her fellow Darlings tonight, but she doesn’t need them – Lady Power has an audience of willing supporters.
Next up in our Spotlight feature is DuBois Entendre, which plays Edinburgh Festival from 3 – 26 August 2017. I caught up with writer and actor Myra DuBois.
Next up in our Spotlight feature is Mother’s Ruin, which plays Edinburgh Festival from 2 – 27 August 2017. I caught up with actor Maeve Marsden.
In August it all kicks off, the 70th anniversary of Edinburgh Festival Fringe. For three weeks, Scotland’s capital, welcomes an explosion of creative energy from around the globe.
Each critic will see a minimum of 15 performances within their specialist area, and their responses may include traditional written reviews, blogs, vlogs, podcasts, tweets and visual responses. Last year, over 400 reviews were produced by 19 participating critics, as well as additional social media content and reportage.
Internationally renowned singer/songwriter Will Young reprises his Olivier Award-nominated performance as the enigmatic Emcee alongside musician and presenter Louise Redknapp, who makes her stage debut as Sally Bowles in Rufus Norris’ multi-award winning production of CABARET.
Ahead of its time in 1966, Cabaret startled audiences by merging a traditional book musical with the avant-garde stylings of a concept musical, a form that producer/director Harold Prince was not to explore further until the early 1970s.
Simone Tani, one of the founders of Teatro Pomodoro, must be completely shattered. Speaking to me over Skype, he has just become a father and is also trying to finalise bringing the company’s first full work, Cabaret From The Shadows, to Brighton Fringe Festival.
Hip H’Opera is now a thing thanks to the team from Witt ‘N Camp. These two staccato, shrill, singing divas appear in masquerade masks and constantly compete for centre stage.