You know how it is, when a ticket to Hamilton falls into your lap, you can’t really say no to this… So a return to the Victoria Palace Theatre, my first since this behemoth of a show actually opened up and one which was surprisingly rewarding, over and above the pleasures of the show itself.
Illuminating about both the craft of acting and the glorious show that is Hamilton, Giles Terera’s book Hamilton And Me takes the reader on a whirlwind journey through what was clearly an incredibly important period in the performer’s life.
In Hamilton and Me, Giles Terera shares his personal story and relationship with Hamilton and his character, Aaron Burr. It covers how he auditioned for the role of ‘the villain’ and the journey he went on in order to understand and embody him on stage.
There’s hardly a more insistent ear worm of a song in all of Andrew Lloyd Webber’s ear-wormy repertoire than ‘Memory’, the breakout hit of his 1981 musical Cats, which last night celebrated the 40th anniversary of its premiere at the then New London Theatre (now itself renamed for Gillian Lynne, the choreographer whose work on the show ignited a revolution in global musical theatre, and accidentally created the West End’s first authentic dance-based musical).
Now we’ve seen Cameron Mackintosh here in London twice in the last year throw his original investors overboard on his two biggest hits: Les Miserables and The Phantom of the Opera.
Jeffrey Seller and Cameron Mackintosh, producers of the West End production of Lin-Manuel Miranda’s Hamilton, are delighted to announce that from 19 August 2021 the show will resume performances at the Victoria Palace Theatre.
Deservedly drenched with international awards and accolades, megahit musical Hamilton arrives in Australia in pristine form, the terrific local cast members not throwing away their shots at future superstardom.
A constantly recurring theme as we hopefully start emerging from this pandemic — and even long before it actually happened — was about creating space for new voices and talents, and preferably younger and more diverse voices, whether as writers, directors, producers, designers, actors or even theatre critics.
It’s both surprising, and not, in the light of this that Phantom — a fictional character whose physicality is almost entirely shrouded by a cloak and whose face is 50% covered — has never been played by a black or Asian actor yet in its 35-year run in the West End.
Emma Clarendon selects some of her favourite songs performed by leading lady characters in musicals….
My latest ShenTens is particularly bittersweet, as we can’t actually go to any at the moment: my favourite West End theatres.
The BBTAs have revealed the 2020 Black British Theatre Awards nominee list, voted almost entirely by the public and representing some of the finest work by Black performers and creatives in UK theatre. The 2020 awards ceremony will air on Sky Arts this autumn, as part of the channel’s free to air line-up.
In a candid self-penned article in the Evening Standard, producer Cameron Mackintosh has revealed that he and Andrew Lloyd Webber have been forced to “sadly permanently shut down” the iconic West End production of The Phantom of the Opera as a consequence of the Coronavirus crisis.
The Stage Debut Awards will return on 27 September 2020 as a virtual ceremony.
Spectacularly unique and filled with passion, this filmed version of the hit Broadway musical Hamilton is exquisite to watch – no matter how many times you have seen it.
Cameron Mackintosh has delayed the return of his West End productions of Les Misérables, Mary Poppins, Hamilton and The Phantom of the Opera until as early as practical in 2021.
And so here it is… my top 10 musicals of the decade. It turned out to be a slightly emotional journey. But it turns out musicals meant a lot in that time and I’ll fight anyone who says musicals aren’t a serious artform.
As the West End production of Lin-Manuel Miranda’s HAMILTON enters its third year at the Victoria Palace Theatre, new casting has been announced and further tickets have been released, with bookings now being taken through to 28 March 2020.
Society of London Theatre (SOLT) and UK Theatre have released data for ticket sales across their member venues in 2018. The figures reveal a combined audience of over 34 million and ticket revenue of nearly £1.28 billion, from a total of 62,945 performances over the course of the year in the West End and across the UK.
“The inheritance of wisdom, community and self” – Matthew Lopez. Each year, around March, I think of a brilliant way to start the Best of the Year list. Each year, around December, I forget it. In the year when football nearly came home and the UK has been stuck on a political pause, theatre has been the lodestar.