David Hasselhoff will play Franklin Hart Jnr in 9 To 5 The Musical at London’s Savoy Theatre from 2 December 2019 until 8 February 2020.
9 To 5 the Musical is based on 20th Century Fox’s picture and was originally produced on Broadway by Robert Greenblatt in April 2009. It’s written by Patricia Resnik, with music and lyrics by Dolly Parton.
9 To 5 is a feel-good show, helmed by powerful performers who allow you to ignore the shortcomings and enjoy it for what it is: a load of female led fun.
Jeff Calhoun’s production of 9 To 5 The Musical is plenty of fun while maintaining the story’s serious undertone of women fighting for their rights at any cost.
Musical theatre comedy done well is a blissful way to spend an evening. So it is with Dolly Parton’s 9 to 5, currently playing to packed houses at the Savoy Theatre.
Dolly Parton’s musical 9 to 5, based on the popular film, has officially opened at the Savoy Theatre. Here’s what critics have been saying about it…
Caroline Sheen will be joining the company of Dolly Parton’s 9 To 5 The Musical in the role of Violet Newstead at the Savoy Theatre, London from 28 January 2019 until the end of March. Louise Redknapp will re-join the company to play the role in the musical from the end of March.
New musical Prom Queen will receive a workshop presentation at The Other Palace on 2 July, ahead of a planned Broadway run.
West End musical theatre group, The Barricade Boys, have announced a massive line-up of guest stars for their limited Christmas Cabaret season, which runs at London’s The Other Palace Studio from 5 to 23 December.
Confession time – I’ve had this album for an unforgivably long time, mainly because I managed to forget about it, despite the fact I was meant to be reviewing it. D’oh, and sorry Mr G. And more fool me, because Before After is just lovely.
Comrade Rockstar is based on the properly fascinating tale of Dean Reed, an American singer known as the Soviet Elvis after he defected to the other side of the Iron Curtain at the height of the Cold War. It is much more musically varied than the moniker ‘rock musical’ might suggest.
Alistair McGowan stars in a new production of Dylan Thoma’s Under Milk Wood, which forms part of the Watermill Theatre, Newbury’s 50th-anniversary programme.
And because things come in threes, here’s the news about West End Sings’ Christmas single ‘If We Only Have Love’ by Jacques Brel. Released to celebrate the 30th Anniversary of Childline and all proceeds will go to the charity. The track was officially released on Friday 9th December.
Robert J. Sherman (he of the illustrious songwriting line of Shermans and no relation to Rory) has scored the reflective Mondays, recorded by Rosemary Ashe. There’s an innate sense of wisdom in Ashe’s timbre.
The Watermill has cast the show perfectly, with Tom Chambers and Caroline Sheen leading the Crazy For You company.
The Watermill Theatre today announces the full company for its summer production of Gershwins’ CRAZY FOR YOU opening on 28 July until 17 September 2016, with a press night on 3 August. West End leading lady, Caroline Sheen makes her Watermill debut as Polly and joins previously announced Tom Chambers, who plays Bobby.
Only the Brave is a landmark production for Wales Millennium Centre. For the past 10 years, it has been a leading touring venue, as well as providing a home for smaller local companies to create work in it’s smaller spaces. However, it has yet to originate new work on the main stage…until now. In this co-production with the Soho Theatre, Daniel Sparrow Productions and Birdsong Productions, Only the Brave is a brand-new British musical theatre production.
This Easter, Wales Millennium Centre will premiere its first full-scale, original musical, ONLY THE BRAVE, produced with Soho Theatre, Daniel Sparrow Productions and Birdsong Productions. Based on the real lives of men and women caught up in the D-Day landings, this new production will star David Thaxton, Caroline Sheen and Neil McDermott, directed by Steve Marmion, Artistic Director of London’s Soho Theatre.
Christmas came early to the West End on Sunday night, for just like Max Bialystock, Mel Brooks’ legendary king of Broadway, Alex Parker has done it again with his own Kings Of Broadway. Though where Bialystock famously flopped, yet again this remarkable conductor cum impresario succeeded spectacularly in mounting a one-night only extravaganza of the work of Jule Styne, Stephen Sondheim and Jerry Herman. Either Parker has amassed a multitude of favours to call in, or, and this is far more likely, he has simply earned the respect of an army of talented professionals including a 30-piece(!) orchestra and a cast of stellar proportions, to put on a concert that proved to be as polished as it was entertaining.
Royal Festival Hall, London
Jason Robert Brown
Returning to a London concert for one night only, New York composer Jason Robert Brown plus West End guests, performed to an adoring Royal Festival Hall. Opening the gig with the overture from Honeymoon in Vegas, his latest to show to open (and after 3 months, close) on Broadway, there was an air of refreshing even if disarmingly honesty self-deprecation as Brown told his audience that the show was “the latest in a long series of shows you’re not going to see over here!”
Musical director Torquil Munro had assembled an impressive orchestra for the evening, though given the venue’s vast expanse, a little more attention needed to have been paid to the sound-mix that occasionally went awry. In what was to prove an event of two quite distinct halves, the evening’s first section was, for the most part, little more than a simply entertaining line-up. It was post-interval however that Brown’s selection of both singer and song became jewel-encrusted.
Memorable from act one was wunderkind Eleanor Worthington-Cox’s What It Means To Be A Friend from Brown’s paean to teenage angst, 13, whilst Bertie Carvel offered a touching reprise of his Leo Frank from the Donmar Warehouse’s 2007 production of Parade of 2007. The highlight of the half however was Laura Pitt-Pulford (who merited a second half re-appearance) re-visiting her Lucille Frank, also from Parade only this time the Southwark Playhouse’s 2011 production. Pitt-Pulford’s You Don’t Know This Man offered a performance of beautifully measured power alongside quite possibly the best example of acting-through-song of the night.
Act two kicked off with a medley from The Bridges of Madison County, another of Brown’s briefly lived Broadway shows – and whilst Caroline Sheen was exquisite as Italian immigrant Francesca, singing opposite both Matt Henry and Sean Palmer, too often the numbers suggested a Gaelic rather than Latin pulse, or maybe that was down to the hall’s acoustics too. It took a one-off composition from Brown, Melinda, drawn from a fusion of the music of 1970’s New York for the second half to truly ignite. Beautifully channelling a Billy Joel inspired sound, Melinda offered a rare moment to witness Brown’s dazzling keyboard skills.
Amy Booth-Steel got the evening’s The Last Five Years chapter underway with a beautifully nuanced I’m Still Hurting, though it was to be Cynthia Erivo’s I Can Do Better Than That that saw this “national treasure in waiting” of musical theatre Festival Hall’s roof clean off!. It was tough on Oliver Tompsett who had to follow Erivo with a thoroughly decent (but by now, completely overshadowed) Moving Too Fast. In a number that was to see her powerfully duet with Brown, Willemijn Verkaik was on fine form with And I Will Follow.
Whilst Brown’s melodies are consistently ingenious, his lyrics vary. The caustic irony he imbued in The Last Five Years and in Parade was a mark of genius that matches Sondheim’s best for its pinpoint, minimalist dissection of the human condition, yet the evening’s snatches of The Bridges Of Madison County seemed to lack the perceptive wit of his earlier years.
Amara Okereke led a Drew McOnie choreographed Brand New You routine from 13, complete with a nearly drilled adolescent NYMT ensemble reprising their West End premiere from some years back, before Brown took the microphone again to encore with a passionate Someone To Fall Back On.
Seeming genuinely taken aback at the blazing warmth of his reception, Brown commented to the crowd who stood as one to salute him, that he “doesn’t see that every day!” Much like fellow American Scott Alan who himself only recently played London, one senses that both New Yorkers feel more appreciated on this side of the pond than back home.
Jason Robert Brown should return here soon, to a more intimate venue and for a (better rehearsed) residency of modest length. His talent as writer, pianist and heavenly-voiced singer too is unquestioned and what is more, London loves him.