There’s no question that, apart from his undoubted brilliance as a composer of instantly memorable melodies, Andrew Lloyd Webber’s greatest gift is as (self) publicist. He’s just wonderful at getting people to speak about him and his shows; and thereby promote them.
Lambert Jackson Productions has announced its online lockdown production of Jason Robert Brown’s Songs For A New World will stream on stream.theatre from 21-28 February 2021.
It’s difficult to know exactly what the West End might look like when it finally returns: already there’s been some shape-shifting.
Editor and founder Emma Clarendon selects some of her favourite pieces that she has written for Love London Love Culture this year.
This incredible concert version of Songs for a New World serves as an all-to-brief reminder of how it feels to listen to live music in an enclosed, traditional theatre space, responding to every note and beat.
After the success of the online streamed version of Jason Robert Brown’s Songs For a New World, Lambert Jackson has brought the musical back as one of the first live, in person performances in the West End. Theatrical powerhouse Rachel John will be starring in the show and is extremely excited to get back to performing…
A cherished favourite of many a music theatre fan, Jason Robert Brown’s Songs for a New World shimmers with intensity in this powerfully sung new staging by Blue Saint Productions.
After recent successes including Songs for a New World at the St James Theatre, Adam Lenson directs the London premiere of See What I Wanna See, now running at the Jermyn Street Theatre. But it’s not his first meaningful encounter with Michael John LaChiusa‘s 2005Off-Broadway musical… In the spring of 2006, I found myself in Dress Circle, the now lost …
Apart from my Edinburgh blitz, I like to take August a little slow on the theatregoing front. These few weeks offer a brief respite while many people are away on holiday or still up at the Fringe (which I’m not the slightest bit jealous about – no, really) before the ‘autumn season’ kicks off and […]
Every week, a group of regular, dedicated, independent theatre bloggers gather together for intelligent discussion “from the audience’s perspective” about plays and musicals they’ve recently seen in London. Lively, informed and entertaining. My Theatre Mates is delighted to syndicate the (still) As Yet Unnamed London Theatre Podcast (AYULTP). Shows discussed (with timings) in this week’s podcast: Songs for a New …
I managed another nine show (plus one movie!) week, with one of those theatre visits in Southampton, and even managed to have one night off in the middle of it for an office dinner! So I’ve hardly had time to catch my breath all week, but am looking forward to three weeks off now as I head back to the US tomorrow — or at least ‘off’ from London, with only a few theatre outings planned while I’m out there for a change.
Another busy week: I loved 7 Brides for 7 Brothers, Songs for a New World, As Is, The Spitfire Grill and revisiting Memphis, but had problems with Sinatra, Mack and Mabel and American Idiot.
There is a great deal of debate over how to define a piece like Jason Robert Brown’s iconic debut work; ‘Songs for a New World’. Some see it as a concept album, a young composer experimenting with snippets from a variety of unfinished or dismissed projects, others see it as a thematic song cycle, a collection of ideas about modernity. But in today’s world where song cycles can all too often be a lazy get-out for a composer looking to stage in his songs in a production that desperately needs a good book, it is refreshing to revisit this finely crafted work in a 20th anniversary staging of the show that truly defined Brown as a master in understanding the human condition.
At a professionally-packed first night for Songs For A New World even long-time theatre diehards were squeaky with anticipation: never before have so many been longing for a ‘decent’ production of their favourite 1995 off-Broadway concept show. And they raved about it, cheering every song and jumping to their feet at the end.