In four previous episodes of my weekly #ShenTens podcast, and their accompanying columns here, I’ve chosen my top ten favourite leading ladies and leading men respectively in both Broadway and West End musicals. Now I turn to rising stars — the next generation of performers who are already making their mark in London. (I’ll get to Broadway when it returns to business itself).
The latest addition to the Old Vic’s In Camera series will Dr. Seuss’s The Lorax from 14–17 April 2021 with Jamael Westman (Hamilton, West End) as the Once-ler and Audrey Brisson, David Ricardo-Pearce and Ben Thompson as The Lorax. Other cast includes: Richard Katz, Melanie La Barrie and Silas Wyatt-Barke.
The winners of the 64th Evening Standard Theatre Awards have been announced, with double wins for the National Theatre’s Antony & Cleopatra and the West End productions of Company and Hamilton.
The shortlist for the 64th Evening Standard Theatre Awards has been unveiled. The winners will be announced on Sunday 18 November at the Theatre Royal, Drury Lane.
Ten new cast members will be joining the London company of Hamilton which is going into its second year at the Victoria Palace Theatre. The production is booking to 30 March 2019.
So, that just happened! Despite some small disappointments in the nominations (nothing too much, just some things felt unnecessarily overlooked), I was rather looking forward to this year’s Oliviers.
It is difficult to know what else to say about this musical that has already had so much praise and enthusiasm thrown at it.
Has there ever been a more hotly anticipated new musical? A rhapsodic biography of America’s ‘forgotten’ founding father, Hamilton has whipped up a hurricane (pardon the pun) of frenzy, speculation, and, nay-sayers would argue, hyperbole which has swept the world to become a truly global phenomenon.
Hamilton is everything you might hope for. Lin-Manuel Miranda has written a piece that is at once gloriously current and utterly timeless. The cast at the Victoria Palace Theatre gleans every last drop of emotion from each note.
A new booking period for the London production of Hamilton will go on sale on Monday 29 January 2018 at 12 noon GMT.
The world’s hottest musical arrives in London in a pristine production that is matched by a gleaming, newly renovated West End theatre that is far superior to the show’s Broadway home.
It is great news indeed that this Orange Tree production will be gaining further life in 2018 with a transfer to the National Theatre in the summer. I really hope that as much of the original cast comes with it, especially Nwosu.
For all its considerable entertainment value, there are some vitally important messages here, about politics, society and the fragility of our institutions – messages that, 246 years after the birth of the world’s greatest modern democracy, are perhaps never more urgent than now. History has its eyes on us all, as one of Miranda’s lyrics reminds us.
There are too many joys in the show to list them all. Be sure to look out for the arrival of Jefferson after the interval. Just try to get a ticket to the room where it happens and be ready for one of the best nights of theatre you can have. Welcome to London, Hamilton.
The smash-hit Broadway musical has made its West End premiere in the newly refurbished Victoria Palace Theatre. Just how many five-star raves can one show receive? Is this unprecedented? Love London Love Culture rounds up all of the first-night reviews…
My verdict? A top-class transfer of an all-American musical, spreading Alexander Hamilton’s story ever further – you won’t want to miss your shot to be in the room where it happens!
Change doesn’t just happen, it has to be ushered in by visionaries determined to shake up the status quo to allow the rest of us to shuffle in in their wake.
I am no Hamilton aficionado. I knew remarkably little about the show before I sat down in my seat in the Grand Circle. I didn’t even know a single song, let alone have the cast recording on repeat.
Thanks to the power and brilliance of the London cast, all comparisons with Broadway fade away. The entire company pump in soul, heart and skill to the glorious narrative created by Miranda, musical supervisor Alex Lacamoire and director, Thomas Kail.
It sounds like the ultimate fringe oddity. Instead, after a sellout off-Broadway, it became is an almost instant legend of the stage thanks to Broadway audiences battling for tickets, the heartily applauding Obamas and a rattled, disapproving Trump.
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