Love London Love Culture rounds up the reviews for the UK premiere of Adam Guettel and Craig Lucas’ musical Light in the Piazza.
The marvellously swooping score by Adam Guettel for The Light In The Piazza whisks you away from the opening moment and enthrals you in the beauty and magic of this delicate Italian love story.
The most lyrical and romantic thing about Light In The Piazza is its title. That, and the luscious vintage-style 50s costumes which evoke the American idyll of Italy as captured by Audrey Hepburn in Roman Holiday.
Joining Renée Fleming and Dove Cameron in the London debut of the acclaimed Broadway musical The Light in the Piazza at London’s Royal Festival Hall will be Rob Houchen, Celinde Schoenmaker, Liam Tamne, Malcolm Sinclair and Olivier-nominated international soprano Marie McLaughlin.
Thanks to films such as Water for Elephants and more recently The Greatest Showman, there is an irresistible appeal for the traditional circuses from around the 1900’s. Now thanks to Circus 1903, there is a great opportunity to revisit the golden age of circus.
In the summer of 2019 much-acclaimed opera singer and soprano Renée Fleming and film and TV actress Dove Cameron will star in the London premiere production of Craig Lucas and Adam Guettel’s Broadway musical The Light in the Piazza, directed by Daniel Evans.
The Australian circus troupe Gravity & Other Myths presents a clever and slick show that highlights the strength and the importance of the backbone.
The structure of The Best of James Bond is simple but effective, taking each film in turn, with the occasional digression into the wider cultural context, which makes for an entertaining and satisfying tribute to the continuing influence of the franchise.
I left the Royal Festival Hall, after seeing Sondheim On Sondheim, in awe of the performers, in love with Sondheim’s music and connected to him as a person.
When a family-friendly Christmas clown show seems more akin to Waiting For Godot rather than an act from a big top, three-ring circus, something’s gone wrong.
This rather sombre circus show looks at immigration and the reasons behind it as well as why we should all come together and support each other.
It’s uncomfortable to watch a play that conflicts with your politics or world view, and Liz Carr’s Assisted Suicide: The Musical does just that. The gay actor and comedian aligns with cuddly liberal ideology other than her avowed opposition to legalising assisted suicide in the UK.
Million Dollar Quartet offers up some of the finest cuts of vintage rockabilly and rock n roll procured from some of the most legendary names in the history of music.
In 1956 four young men on the brink of stardom had an impromptu jam session at the now legendary Sun Studios under the watchful eye of Sam Phillips, the man who created Rock’n’Roll.
What exactly do we expect when we go to the theatre? Something compelling, entertaining, thoughtful or moving to watch and listen to, obviously. But what about the physical surroundings of the experience?
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MILLION DOLLAR QUARTET, the Tony Award-winning Broadway musical and West End hit, today reveals casting for the red-hot rock ‘n’ roll extravaganza which appears at Southbank Centre’s Royal Festival Hall. The show plays a limited season starring Martin Kemp from Saturday 17 December 2016 to Monday 2 January 2017.
Today’s #MatesChoice ticket recommendation: Slava’s Snowshow… Still going strong after touring the world for over 20 years, the Tony and Olivier award-winning hit created by Russian clown Slava Polunin returns to Royal Festival Hall for another limited Christmas season until 3 January 2016.
All credit to Elliot Davis, Senbla and the genius of casting director Anne Vosser too, for assembling such a platinum plated cast to perform the little known Of Thee I Sing. But whilst this one-night-only’s company was majestic, the show itself plumbs the crassest depths of jingoistic prejudice, sexism and febrile farce. Quite how it won the 1932 Pulitzer Prize (the first musical ever to do so) beggars belief.
Royal Festival Hall, London
Jason Robert Brown
Returning to a London concert for one night only, New York composer Jason Robert Brown plus West End guests, performed to an adoring Royal Festival Hall. Opening the gig with the overture from Honeymoon in Vegas, his latest to show to open (and after 3 months, close) on Broadway, there was an air of refreshing even if disarmingly honesty self-deprecation as Brown told his audience that the show was “the latest in a long series of shows you’re not going to see over here!”
Musical director Torquil Munro had assembled an impressive orchestra for the evening, though given the venue’s vast expanse, a little more attention needed to have been paid to the sound-mix that occasionally went awry. In what was to prove an event of two quite distinct halves, the evening’s first section was, for the most part, little more than a simply entertaining line-up. It was post-interval however that Brown’s selection of both singer and song became jewel-encrusted.
Memorable from act one was wunderkind Eleanor Worthington-Cox’s What It Means To Be A Friend from Brown’s paean to teenage angst, 13, whilst Bertie Carvel offered a touching reprise of his Leo Frank from the Donmar Warehouse’s 2007 production of Parade of 2007. The highlight of the half however was Laura Pitt-Pulford (who merited a second half re-appearance) re-visiting her Lucille Frank, also from Parade only this time the Southwark Playhouse’s 2011 production. Pitt-Pulford’s You Don’t Know This Man offered a performance of beautifully measured power alongside quite possibly the best example of acting-through-song of the night.
Act two kicked off with a medley from The Bridges of Madison County, another of Brown’s briefly lived Broadway shows – and whilst Caroline Sheen was exquisite as Italian immigrant Francesca, singing opposite both Matt Henry and Sean Palmer, too often the numbers suggested a Gaelic rather than Latin pulse, or maybe that was down to the hall’s acoustics too. It took a one-off composition from Brown, Melinda, drawn from a fusion of the music of 1970’s New York for the second half to truly ignite. Beautifully channelling a Billy Joel inspired sound, Melinda offered a rare moment to witness Brown’s dazzling keyboard skills.
Amy Booth-Steel got the evening’s The Last Five Years chapter underway with a beautifully nuanced I’m Still Hurting, though it was to be Cynthia Erivo’s I Can Do Better Than That that saw this “national treasure in waiting” of musical theatre Festival Hall’s roof clean off!. It was tough on Oliver Tompsett who had to follow Erivo with a thoroughly decent (but by now, completely overshadowed) Moving Too Fast. In a number that was to see her powerfully duet with Brown, Willemijn Verkaik was on fine form with And I Will Follow.
Whilst Brown’s melodies are consistently ingenious, his lyrics vary. The caustic irony he imbued in The Last Five Years and in Parade was a mark of genius that matches Sondheim’s best for its pinpoint, minimalist dissection of the human condition, yet the evening’s snatches of The Bridges Of Madison County seemed to lack the perceptive wit of his earlier years.
Amara Okereke led a Drew McOnie choreographed Brand New You routine from 13, complete with a nearly drilled adolescent NYMT ensemble reprising their West End premiere from some years back, before Brown took the microphone again to encore with a passionate Someone To Fall Back On.
Seeming genuinely taken aback at the blazing warmth of his reception, Brown commented to the crowd who stood as one to salute him, that he “doesn’t see that every day!” Much like fellow American Scott Alan who himself only recently played London, one senses that both New Yorkers feel more appreciated on this side of the pond than back home.
Jason Robert Brown should return here soon, to a more intimate venue and for a (better rehearsed) residency of modest length. His talent as writer, pianist and heavenly-voiced singer too is unquestioned and what is more, London loves him.
Clarke Peters doesn’t appear in the official Darren Bell rehearsal photo set for How To Succeed in Business Without Really Trying, which might explain why he fluffed so many times, lost his place in the script and kept laughing at the other actors’ gags – maybe he hadn’t heard them before?
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