Cameron Mackintosh has announced casting for Boublil and Schönberg’s Les Misérables at the newly restored Sondheim Theatre, when the theatre re-opens on 18 December 2019 following its major renovation.
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.
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.
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.
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.
Producers Jeffrey Seller and Cameron Mackintosh are delighted to announce that Jamael Westman (Alexander Hamilton) and Michael Jibson (King George) will join the previously announced West End cast for Hamilton.
I’m particularly excited for John’s Angelica (she was most impressive in The Bodyguard recently) and Terera has long been a favourite around these parts so his Aaron Burr, sir, will undoubtedly be a highlight of the show.
Producers Cameron Mackintosh and Jeffrey Seller are thrilled and delighted to announce the initial casting for their West End production of HAMILTON, which starts performances at London’s Victoria Palace Theatre on 21 November 2017, with a press night on 7 December. Public booking opens this Monday, 30 January. Christine Allado (Peggy Schuyler/Maria Reynolds), Rachelle Ann Go (Eliza Hamilton), Tarinn Callender …
And because things come in threes, here’s the news about West End Sings’ Christmas single ‘If We Only Have Love’ by Jacques Brel. Released to celebrate the 30th Anniversary of Childline and all proceeds will go to the charity. The track was officially released on Friday 9th December.
Now in its record breaking 31st year, Cameron Mackintosh is delighted to announce cast changes for LES MISÉRABLES at the Queen’s Theatre. From Monday 13 June 2016 David Langham will play ‘Thénardier’ and Chris Cowley will play ‘Enjolras’.
Now in its record breaking 30th year, Cameron Mackintosh is delighted to announce exciting cast changes for LES MISÉRABLES at the Queen’s Theatre in 2016. Joining the cast from Monday 15 February 2016 are Patrice Tipoki as ‘Fantine’; Craig Mather as ‘Marius’ and Danielle Hope as ‘Eponine.’ Peter Lockyer will continue to star as ‘Jean Valjean’, Jeremy Secomb as ‘Javert’, Phil Daniels as ‘Thénardier’, Katy Secombe as ‘Madame Thénardier’; Zoë Doano as ‘Cosette’ and Bradley Jaden as ‘Enjolras’.
Les Miserables has long impressed me, not just for having such a stirring libretto, but also for the cheekily economic creativity of Alain Boublil and Claude-Michel Schoenberg that was able to hang quite so many different songs on just a handful of (oft repeated) melodies! Herbert Kretzmer deserves handsome credit for the lyrics. Kretzmer has compressed Victor Hugo’s panoramic vision of 19th century France into 3 hours of sung-through genius, with a wit and nuance perfectly tailored to the modern idiom.
This week I had another birthday — but it wasn’t any birthday: Scott Alan threw a public birthday bash for me. And it was the best of my life!
***** Hugh Maynard – inset Rachelle Ann Go and Kwang-Ho Hong
Every now and then a gig comes along that not only marks a performer’s talent, but also evidences their status in the industry and even more rarely, a remarkable generosity of spirit. So it is with Hugh Maynard, currently playing John in the West End’s revived Miss Saigon, who on the night he launched his debut solo album Something Inside So Strong not only sang sensationally but also chose to share his stage with a talented corps of Miss Saigon colleagues. It all made for a memorable night at the Hippodrome.
In front of his 5-piece band (MD Liam Holms) and on his own Maynard sparkled, covering Seal’s Kiss From A Rose in a distinctly fresh interpretation that still retained a hint of the writer’s hallmark edgy tenderness. When A Man Loves A Woman offered a further glimpse of the controlled power of Maynard’s belt, whilst in a disarmingly brave choice for a fella, his take on Brenda Russell’s Get Here (a smash hit for Oleta Adams) showed the full range of his tenor magnificence.
Maynard’s big number in the Boublil and Schoenberg epic is Bui Doi, an impassioned plea on behalf of Vietnam’s “dust of life” kids, the mixed-race progeny fathered by long absent GIs. A neat twist saw a 7-strong ensemble of Miss Saigon’s finest give a stunning, cheeky twist on the number, referring to the “spice of life” and sung a-capella no less, conducted by Maynard and gloriously led by the show’s Carolyn Maitland.
Making the short trip from the Prince Edward Theatre to guest for Maynard, his featured colleagues Rachelle Ann Go and Kwang-Ho Hong both sung solos from Les Miserables. Each famous in SE Asia, both guests offered proof, if any was needed, of Cameron Mackintosh’s ability to source talent from across the globe. Hong’s Bring Him Home along with Go’s I Dreamed A Dream set spines-tingling. Their song choices may have been well worn favourites yet each electrified the Hippodrome crowd before going on to duet with their host.
One night was not enough and Hugh Maynard needs to return to the cabaret stage soon. Until then he remains a living reminder of the excellence to be found in London’s musical theatre today.