Warmhearted and sincere, Jonathan O’Boyle’s concert production of Rodgers and Hammerstein’s musical take on Cinderella is gorgeous to watch and listen to from start to finish.
Love London Love Culture rounds up the reviews for the Lyric Hammersmith’s 10th-anniversary pantomime Dick Whittington.
Not quite a musical, but somewhat more than a concert, song cycle The Distance You Have Come brings together some of the greatest hits from Scott Alan’s star-spangled songwriting career, performed by an equally glittering cast of West End talent.
Scott Alan is a long-standing cult favourite amongst musical theatre enthusiasts and his most recent song cycle The Distance You Have Come weaves in his most popular numbers with some newer ones.
A Scott Alan song cycle promises much but The Distance You Have Come doesn’t quite deliver at the Cockpit Theatre, despite its excellent cast.
Can musical theatre help us find common ground with those with whom we disagree? If so, Unexpected Joy is undoubtedly the musical to do it. Watch Terri Paddock’s post-show Q&A with the all-female cast, producer Katy Lipson of Aria Entertainment and musical director Gareth Bretherton.
Produced by Aria Entertainment at the Southwark Playhouse in conjunction with their From Page To Stage Festival celebrating new musical theatre, this European premiere of Unexpected Joy is something of an irrepressibly cheesy delight.
From the moment a smock-dressed lady ambles on stage, the cramped space in South London erupts into a burst of foot-tapping tunes. Unexpected Joy boasts a rousing chorus of tunes and some impressive vocal feats.
Bill Russell and Janet Hood’s musical Unexpected Joy is refreshing and appropriate for 2018 thanks to its four strong female characters and songs that hit the spot emotionally.
A female led production with wonderful songs, a heartfelt message and a whole lot of love, there’s no reason not to see Unexpected Joy.
The email telling me about an upcoming West End Live Lounge concert is one I look forward to with excitement and anticipation as the night always proves to be a joyous, talent-filled one.
Final casting for Myth: the Rise and Fall of Orpheus, directed by Arlene Phillips and playing at The Other Palace from 10 March, includes Jaymi Hensely, best known for his work in boy band Union J.
The show opens with the bad guys; Dr Bloom played by Marc Pickering and General Blight played by Carl Mullaney, both of whom worked well together and it felt like they had walked straight out of a comic strip into the real world.
All generations must have their superheroes; for children in the 1980s, tea-time television presented awe-struck audiences with the adventures of Bananaman, a particularly dim-witted super-hero who started life on the back pages of the DC Thomson comic, Nutty.
Armed with “the muscles of twenty men and the brains of twenty mussels”, Bananaman is here to save the residents of Acacia Road, and Bananaman the Musical is here to save off-West End theatregoers who are craving fresh and a-peel-ing new material.
Matthew McKenna has been unmasked today as the star and “handsome hero” of Bananaman the Musical, which runs at London’s Southwark Playhouse from 15 December 2017 to 20 January 2018, with a press night on 4 January. Full casting is announced today.
Both acts were a celebration of Scott’s career with the stars taking the stage to perform theirs and Scott’s favourite compositions. Scott joked how each song he writes is depressing, even his happy songs are emotive ballads which is extremely true and for me, someone who thrives on emotional, depressing music (I have playlist just for it) it was all I couldv’e asked for.
The script is sprinkled with as many songs as anecdotes – who knew for example that Bart could not write music? He would hum out a tune on his kazoo, while his good friend Eric Roberts (who was to score most of the Carry On movies) transcribed the melodies to written manuscript.
Lizzie proved to be considerably more interesting than I thought a rock musical would be, presented as something between a semi-staged musical and rock gig, it’s a striking thing indeed.
Rock musicals are always going to be in your face, loud, thrashing affairs – if done properly they should have a live band (this one is kept together and at fortissimo constantly by musical director Martin Bergmann Konge) and aim to shock and rock.
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