The new cast announced for new West End musical & Juliet features Cassidy Janson; Oliver Tompsett; Arun Blair-Mangat; Melanie La Barrie; Jordan Luke Gage and Tim Mahendran.
The Show People Podcast is back! This special ‘Show Peep’ tells you what Andrew Keates has been up to in Ireland, how we’ve become an award-winning podcast and details of Arion’s next masterclasses with Danielle Tarento and Cassidy Janson.
It’s the first ever Show Peep! – an addendum to The Show People Podcast – our host Andrew Keates shares information about how you can work with Julie Atherton, Oliver Savile, Danielle Tarento and Cassidy Janson at Omnibus Theatre as part of Arion Productions’ Portfolio Masterclasses.
Chess is officially back in London, directed by Laurence Connor and starring Alexandra Burke, Michael Ball and Cassidy Janson. Here’s what the critics have been saying about it…
There’s no denying that the plot in Chess could, despite changes in this version, be better structured. But this is a show best enjoyed by sitting back and letting the music and staging blow you away. Overall, it’s a bold and confident production well worth seeing.
Chess is also a musical about love, about honour, about freedom and about hard choices. It is when these come to the fore that the musical really shines.
If you can get (or afford) a ticket, go and see Chess, if only because the score is unlikely to be played quite so sumptuously ever again. The whole production makes for an evening of stunning musical theatre.
If you’ve never seen Chess before then I think you’ll love it. I urge you to see the show regardless of its faults, it’s got a beautiful score and a moving story that you can’t help but fall in love with.
The beauty and simplicity of Chess allowed the audience to enjoy the sublime orchestration and performances. It really is a beautiful visual delight which shouldn’t be missed in this short five-week run
It’s taken over 30 years for Chess to return to the West End (though it was seen at the Union in 2013) and though it has a huge amount of resource thrown at it in Laurence Connor’s production for English National Opera, it doesn’t necessarily feel worth the wait.
