Although this newsletter officially remains on hiatus and will resume publication on Monday 20 September, I’m interrupting my time on the beach for a second time to deliver this bulletin with the reviews of Back To The Future that opened officially at the West End’s Adelphi Theatre on Monday.
I’m interrupting my time on the beach to deliver this bulletin with the reviews of Frozen that opened officially at the West End’s refurbished Theatre Royal, Drury Lane last night.
A new touring stage version of the 1971 Disney film Bedknobs and Broomsticks held a national press night last Friday at Canterbury’s Marlowe Theatre, after previewing beforehand at Newcastle Theatre Royal. The tour is currently booking to May 2022.
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I came out of a matinee today at the Vaudeville to find that bus routes to take me from the Strand back across the river had been suspended: there was a fire in Holborn (see inset), and none were operating. After a few minutes, a bus arrived that was going as far as Waterloo — so I jumped on board that to get me part of the way. On the other side of Waterloo Bridge, it got held up in traffic — just as the northbound lanes of the bridge were being shut off.
Oops. It looked like a controlled kind of chaos was about to hit the West End. And as ever, it seemed that Twitter was providing (some of) the answers. Charlie and the Chocolate Factory tweeted, “Due to incident at Holborn, tonight’s 7.30pm performance of @CharlieChoc_UK has been CANCELLED.” On The Lion King’s website, they posted this update at 16:22: “Due to circumstances beyond our control, we have been left with no option than to cancel this evening’s performance.”
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When the Barbican Centre first opened in 1982, one of its first resident companies was the Royal Shakespeare Company, who gave up their beloved West End addresses at the Aldwych and Donmar Warehouse to move there. The Barbican’s two theatre spaces that replaced them — the mainhouse Barbican Theatre and Pit respectively — were built specifically to and for the RSC’s specifications.
So it was hugely surprising, not to say foolhardy, when then artistic director Adrian Noble suddenly decided to withdraw the company from the building entirely in 2002, and become a company that peripatetically roamed all over the capital, hiring theatres as it needed them from the Noel Coward and Novello to the Roundhouse. It did particularly impressive work in reconfiguring the Roundhouse as a bespoke space for itself, but the company’s lack of a permanent presence in London damaged it greatly.
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No sooner did I declare Cynthia Erivo yesterday to be number two in my list of current UK musical theatre actresses in my round-up for The Stage than yesterday it was also announced that she’s at to reprise the shattering performance she gave in The Color Purple at the Menier Chocolate Factory in the summer of 2013 when John Doyle’s production transfers to Broadway, beginning performances at the Bernard Jacobs Theatre on November 9 prior to an official opening on December 3.
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I’ll admit that I seldom go to BAC. But I have always liked — even loved — that it’s there. It’s a major home for emerging theatre companies, and even if I miss them at the beginning of their lives there, I acknowledge that the building has a major role in developing the talent of the future and the future, in turn, of the theatre.
It is here, after all, that my favourite British musical of the century so far — Jerry Springer the Opera — was born. It’s also where the 1927 company, whose show Golem transfers to the West End’s Trafalgar Studios next month, began.
So it was particularly distressing to hear of the fire that engulfed the venue yesterday — and utterly destroyed its venerable 120 year old Grand Hall.
Earlier this week, Oscar and Tony winner Joel Grey, now 82, came out officially as gay. And in today’s Observer, Richard Wilson, aged 78, tells The Observer about his own public coming out two years ago: “I was officially “outed” by Time Out a couple of years ago.
Into the 90s, she was stunning in Ionesco’s The Chairs at the Royal Court, opposite the late Richard Briers, and from where they transferred to reprise it on Broadway. That was a project she’d initiated herself, telling Playbill’s Harry Haun when it transferred to New York in 1998: “I was reading plays, as one does, and I thought, ‘Oh, I’ll have a look at Ionesco, but I should think it’s old hat.
Today also came the news that Henrietta Götz, executive director of English National Opera, has followed the exit of chairman Martyn Rose, after less than a year in the role.
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When Thriller Live arrived at the Lyric on Shaftesbury Avenue exactly six years ago today, I thought it felt very much like a filler that would be there for a few months but then move on. Instead, of course, it was Michael Jackson who moved on himself to the great pop arena in the sky, and the show became a sort of living memorial to him. In the days following his death, the theatre became a shrine with fans coming there to post tributes. (There’s now a permanent one in the foyer).