Donny Osmond will join celebrated pantomime royalty Julian Clary, Paul Zerdin, Nigel Havers, Gary Wilmot, Jac Yarrow and Sophie Isaacs in Pantoland at The Palladium which will open at the West End theatre on 4 December 2021 and run until 9 January 2022 for a strictly limited five-week run.
Some commercial producers, it appears, wanted the old order to be restored and business to proceed as normal, hence the rush to re-open as quickly as it was legally possible to do so back in November after we emerged from the second lockdown.
Not for the very youngest probably, but for the rest of us over-7s and our inner child Pantoland at the London Palladium is a proper, silly, defiant showbiz shot in the arm.
Love London Love Culture offers a guide to some of the shows set to open in London next month.
Elaine Paige will join the cast of Pantoland at The Palladium for the three-week festive run from 12 December 2020 to 3 January 2021, which sees pantomime return to the the London Palladium for a fifth consecutive year.
This Christmas Julian Clary will lead a star-studded cast in Pantoland at The Palladium, a treasure-trove of the London Palladium panto past devised by Michael Harrison and playing from 12 December 2020 to 3 January 2021.
Stage and screen star Ian McKellen has been named number one in The Stage 100, ‘the definitive guide to the most influential figures working in the UK theatre and performing arts industry today’. He is the first actor to ever top the list.
Love London Love Culture rounds up the reviews for the London Palladium’s 2019 festive offering.
Final casting has been announced for the 2019 London Palladium Pantomime, Goldilocks and the Three Bears, which runs for a limited five-week season from 7 December 2019 to 12 January 2020.
Snow White, the latest pantomime at the London Palladium, stars Dawn French and Julian Clary. Love London Love Culture rounds up the reviews…
Mark Shenton offers the week’s news, reviews, quotes and tweets in theatre from both sides of the Atlantic, including an interview with Sonia Friedman, reviews of Shakespeare in three different abbreviated versions, and a YouTube star appearing on Broadway.
Charlie Stemp will return to the London Palladium to play The Prince in this year’s pantomime, Snow White at the London Palladium along with Danielle Hope who will play the title role of Snow
Dawn French and Julian Clary will lead the cast of Snow White when Qdos Entertainment brings pantomime back to the West End for a third year, playing at the London Palladium from 8 December 2018 until 13 January 2019 and directed by Michael Harrison.
Following critical and commercial success with last year’s Cinderella, QDOS Entertainment have again invested millions to make Dick Whittington the biggest, boldest and glitziest pantomime on the London circuit.
The reviews are in for Dick Whittington, QDOS’ second annual, big-budget, blockbuster pantomime in the West End, running at the London Palladium until 14 January 2018. What is the critical verdict? Here Love London Love Culture rounds up the reviews.
Following critical and commercial success with last year’s Cinderella, QDOS Entertainment has again invested millions to make Dick Whittington the biggest, boldest and glitziest pantomime on the London circuit with what looks like a degree of overkill, taking a sledgehammer to crush a rat perhaps.
In an at turns hysterically funny and extremely touching post-show discussion, Julian Clary, co-star James Nelson-Joyce and director Christopher Renshaw talked about the legacy (and still-tangible presence) of author Stephen Clark as well as speaking in verse while cooking, onstage nudity, willy socks, life and death and much more.
Julian Clary and James Nelson-Joyce star in Stephen Clark’s intense and gripping drama that lacks in purpose and direction.
Trafalgar Studios, London
Written by Stephen ClarkDirected by Christopher Renshaw
It is a rare treat these days to see a play written for its star. So it is with Le Grand Mort, penned by Stephen Clark and created specifically with Julian Clary in mind. Amidst a whirlpool of emotions, the unintended and unspoken sadness of the night is that Clark tragically died last year, never seeing the play brought to life.
Clark has written an exquisite piece that places Clary as Michael, a 50-something architect with a lifestyle that’s a fusion of Hannibal Lecter with, for those who can remember back that far, Graham Kerr’s Galloping Gourmet. (Younger readers may prefer to context Come Dine With Me.) Indeed as the play opens and Clary’s cookery commences, the air inside the compact Trafalgar 2 becomes quickly thick with the scent (stench?) of frying onions.
The action never leaves Michael’s kitchen, a fully functioning showpiece of a set from designer Justin Nardella, in which the preening professional is preparing pasta puttanesca (literally whore’s pasta) as he awaits the arrival of the much younger, rough-trade Tim. We learn that this is the first potentially romantic liaison of the two men after a period of pub-based flirting, but with a rack of chic kitchen knives ever prominent, menace is clear from the outset.
Clark’s writing has a cadence that’s rarely found these days, conjuring up images from a prose that is as assonant as it is meticulous. The whole piece runs for a non-stop 90mins, the first third of which is virtually a Clary monologue. One could almost be witnessing a grown-up version of The Joan Collins Fan Club such is Clary’s wit and persona – even if the patter he regales is a gruesome comment on death and necrophilia.
The arrival of James Nelson-Joyce’s Tim catapults the evening into a 21st century Sleuth. We learn that little of what the young man says is true – however it is clear from both his perfect physique and razor sharp wit that matches Michael word for word, that he is irresistible to the architect.
Clark’s writing is graphic and as his narrative unfolds to encompass incestuous paedophilia it is clear that his two protagonists are deeply damaged souls. But whilst the play’s language and its acting soar, it is hard to care too much for either man – even if Nelson-Joyce’s impressive nudity does briefly shift one’s attention from cook to cock.
The performances here are unquestionably first class and while Le Grand Mort may not be quite the comedy it set out to be, treat yourself to a large glass of Montepulciano and savour the work that’s on offer. Clark truly proves that there’s no fool like an old fool.
Runs to 28 OctoberPhoto credit: Scott Rylander
It’s a show about the delicious intimacy that exists on the cusp of life and death, those dying moments when one is at their most vulnerable.
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