Marguerite - Opens Tomorrow May 19, 2008
Posted by Linda in : Theatre Royal, dates, marguerite , 3commentsThe new musical Marguerite premieres at the Theatre Royal, Haymarket on the 20 May 2008. The story is based on Alexandre Dumas’ novel La Dame aux Camelias, which has been re-worked to bring us everything from the opera La Traviatta to the film Moulin Rouge. Marguerite is set in Nazi occupied Paris, where as the mistress of a high-ranking German officer, she falls in love a young jazz musician and resistance fighter half her age.
The book is by Alain Boublil, Claude-Michel Schonberg and Jonathan Kent, The original French lyrics by Boublil, were re-written for this production by Herbert Kretzmer. Apparently some set changes were also made to avoid any “‘Ello, ‘Ello” echoes which might have put off a UK audience.
Marguerite stars Ruthie Henshall in the title role with, Julian Ovenden and Alexander Hanson. The production is booking at the Haymarket until 1 November 2008
The production has had a very mixed response in previews. Some people have absolutely loved it and found it a ‘very grown-up musical’, others found it a little lacklustre. Personally I definitely fancy seeing it.
Quotes from our readers:
Went to see this last night Monday 12th May and it was fantastic, the best thing I have seen in many months. The cast were brilliant, also the costumes and set. A thoroughly enjoyable performance in a beautiful theatre.
And:
I saw Marguerite last night and it was truly amazing. I particularly enjoyed Andrew C Wadsworth’s portrayal of Georges, Marguerite’s agent.
Update - Video Footage of Marguerite the Musical
Chichester Festival May 18, 2008
Posted by admin in : news , add a commentChichester Festival
THIS year the Chichester Festival is offering a mixture of musicals, revivals and new plays. The casts include names such as Diana Rigg, Robert Lindsay, Maureen Lipman, Brian Conley, Susan Hampshire, Michael Pennington and Jemma Redgrave. Wow.
Musicals
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THE MUSIC MAN
Book, Music and Lyrics by Meredith Willson. Story by Meredith Willson and Franklin Lacey.
June 23 – August 30, Festival Theatre
The Music Man, which opened in New York in 1957, made a musical star out of a minor Hollywood actor – Robert Preston – who played the lead not only in the show but also in the film version (1962). The principal character, “Professor” Harold Hill, is a fraudulent travelling salesman who uses his skills to sell musical instruments to the citizens of a small mid west town for their children but is redeemed by his love for the local librarian.
FUNNY GIRL
Music by Jule Styne and Lyrics by Bob Merrill; book by Isobel Lennart.
April 28 – June 14, Minerva Theatre
Funny Girl opened on Broadway on March 26, 1964 with Barbra Streisand in the name part and ran for 1,346 performances, making Miss Streisand a star. It was seen in London, again with Miss Streisand in the title role, in 1966 but it only ran for 112 performances as Miss Streisand’s pregnancy forced her to leave the cast and the show could not survive without her.
A film version with Miss Streisand was made in 1968 and there was sequel, Funny Lady, in 1975 dealing with Fanny Brice’s later life, also with Miss Streisand, but with a score by Kander and Ebb (Cabaret and Chicago).
…Bob Merrill, the lyricist, is probably best known for the popular song How Much Is That Doggy In The Window although he also wrote scores for other Broadway musicals including Take Me Along (a musical version of Anna Christie) and Carnival (a dramatisation of the film Lili).
Revivals
THE CIRCLE by Somerset Maugham
July 22 – August 29, Festival Theatre
Written in 1919 and produced in 1921, The Circle is considered one of Maugham’s better comedies which has been revived on many occasions. An elegant and entertaining social satire on the compromises and bargains of married life and the conflict between romance and responsibility.
Directed by Jonathan Church.
THE CHERRY ORCHARD by Anton Chekhov
May 15 – June 7, Festival Theatre
Diana Rigg plays Mme Ranevskaya in Mike Poulton’s version of Anton Chekhov’s masterpiece in the opening production in the Festival Theatre. Also in the cast are William Gaunt, Jemma Redgrave and Maureen Lipman and the director is Philip Franks, who last year directed Twelfth Night and co-directed The Life & Adventures of Nicholas Nickleby.
TAKING SIDES and COLLABORATION by Ronald Harwood
July 16 – August 30, Minerva Theatre
Taking Sides focuses in on conductor Wilhelm Furtwängler. Prized by Hitler as the cultural jewel in the crown of the Third Reich, he became the perfect post-war target for interrogation as a Nazi sympathizer. Collaboration begins in 1931 in a spirit of optimism as composer Richard Strauss and writer Stephan Zweig embark on an invigorating artistic partnership. Taking Sides premiered in the Minerva Theatre in 1995 and is revived here with a world premiere of Harwood’s new play Collaboration.
Philip Franks directs.
SIX CHARACTERS IN SEARCH OF AN AUTHOR by Luigi Pirandello.
A new version by Rupert Goold and Ben Power
June June – August 23, Minerva Theatre (Press Night: 8 July)
A bold re-imagining of a masterpiece, Six Characters has been updated and re-conceptualise as a a dark parable for a media-obsessed age.
Rupert Goold returns to Chichester to directs.
New Plays
ARISTO by Martin Sherman
September 11 – October 11, Minerva Theatre
Martin Sherman’s new play Aristo completes the festival. Robert Lindsay plays tycoon Aristotle Onassis in a world premiere based on the last years of his life, including his complex connections and interwoven relationships with Jackie Kennedy and Maria Callas, and his son Alexandros.
CALENDAR GIRLS by Tim Firth
September 5 – 27, Festival Theatre
Tim Firth’s brand new adaptation of the Miramax film Calendar Girls follows the fortunes of a group of extraordinary women, all members of a very ordinary Yorkshire Women’s Institute, who persuade each other to pose for a charity calendar with a difference. A hit film in 2003, the story is based upon true-life events.
Into The Hoods May 16, 2008
Posted by Andy in : Novello, intothehoods , 1 comment so farInto The Hoods by ZooNation is an urban dance fairytale, running at the Novello theatre until at least 30 August 2008
“A fabulous fusion of fairytales, funky tunes and wicked dance moves by ZooNation. From Sadler’s Wells, the show has been a smash hit at two Edinburgh fringe festivals.
The evening also features Rapper and DJ MR Gee as heard on The Russel Brand Show on BBC Radio 2.”
ZooNation is a street dance company specialising in hip-hop, breakdancing and street dance and the name of the show is derived from Stephen Sondheim’s musical Into The Woods, with ‘hood being the vernacular for Neighbourhood.
The story is set in Ruff Endz Estate with a cast of characters including:
* Spinderella the DJ
* Prince Wolf owner of the Big Teeth Records label
* Lil Red a singer
* Giant the drug-dealing pimp
* Fairy Gee who is Spinderella’s fairy godmother.
Music is by an assortment of urban artists including Gorillaz, Basement Jaxx, Stevie Wonder and Kanye West which contributes to making Into the Hoods an uplifting evening of quality modern dance entertainment which celebrates urban roots culture.
Greater London Theatre May 14, 2008
Posted by admin in : Theatres, news , add a commentLondon’s old County Hall, the Grade II-listed former home of the Greater London Council and the Saatchi Gallery, and site of the London Aquarium, is to become a three-theatre entertainment complex called the Greater London Theatre.
The plan is to turn the building into a cultural centre to rival other off-West End venues such as the Battersea Arts Centre in south London.
The three theatres will be
1) The old County Hall debating chamber as the main theatrical space. This has alaready been used once by the Factory Theatre Company earlier this year, for a production of Hamlet.
2) A black-box studio as being proposed by creative company Weird & Wonderful which already runs Movieum, an exhibition of film props, in the building.
3) The Riverside Terrace as a space for outdoor productions.
Marcus Campbell Sinclair, the projects’s joint artistic director, talking to The Guardian said the new venue will be multi-disciplinary:
It will work brilliantly as a bridge between fringe and West End theatre. We are creating in-house productions, and are also in talks with external companies who wish to come in and utilise the space. It will be a mixture of new writing, classical works and other performance theatre.
Taking drinks into the Theatre - good or bad? May 13, 2008
Posted by Andy in : opinion , add a commentA letter in today’s Times reacts against the current trend for carrying drinks of all kinds into the auditoriums of London theatres and opera houses. The writer is worried about the legal position should he happen to knock over a drink which another has left on the edge of the dress circle, and it falls onto somebody below! Whilst that may be an unusual and extreme accident, the point about allowing drinks to be taken in may be worth airing. It never used to be allowed, ostensibly on the grounds of safety and logistics but no doubt profits from the bar play a not inconsiderable part of keeping the theatres economically viable. The interval bar can be very well organised though, with orders taken in advance so I just wonder, do we really need to have a drink at hand during the actual performance? The pubs are still open after the show, and if you’re in a hotel for the night (best idea) then the bar will usually stay open as long as somebody is buying. I won’t even mention the mini-bar.
It’s undisputed that alcohol causes people to talk more loudly and to visit the facilities more frequently, thus inconveniencing others so is the overall theatre experience improved or worsened by take-in drinking?
I’d love to hear your views please on whether you like to take a drink in with you, how important is that to you and how it affects the enjoyment of a night out at the theatre.
Just don’t get me started on popcorn 
River Trips on the Thames May 11, 2008
Posted by Linda in : River Trips, attractions , add a commentOne of the most overlooked things to do while you’re down in London for a theatre break is to take one of the trips on the Thames. The river is just the best place to see the sights of London without all the noise and traffic. On a fine day you can relax on deck and take photos to your hearts content. You can even enjoy a fine meal or dance the evening away by the lights of the city.
Luxury Dining Evening Cruises
These are the really romantic option! Ideal for couples, the evening luxury cruise with a fine meal and dancing afterwards is the perfect way to spend a second night of a theatre break in London. The Bateaux boats really are floating restaurants where good food and music combine with the river cruise to provide a really memorable experience. Not only that but when booked as part of a theatre break package they are surprisingly affordable with prices starting at around £65 per person. Try having a night out with dancing and a meal for less than that in London 
Lunch Time Cruises
Don’t despair if you’ve got the kids with you and a romantic evening a deux is out of the question. You can still experience a delightful meal on the river by booking a lunchtime Catarmaran cruise. There’s a good set menu with vegetarian and children’s options and the cruise lasts around 2 hours. When booked with a theatre break package prices start from £19 for adults and £12 for children.
Lunch at Planet Hollywood and a River Cruise
Planet Hollywood is not so much a restaurant as a Hollywood themed eating experience. Situated just a short walk from the West End you can have a good mooch round looking at the theatres before you pop in for lunch. As part of the Planet Cruise offer with Show and Stay theatre packages lunch at Planet Hollywood includes any sandwich or burger platter on the menu, ice cream and soft drink.
The package includes a City Cruise river tour and costs just £20 per adult and £10 per child
The Duck
The Duck Tours are an institution in London. What could be better than a trip on an amphibious vehicle? Always going to be more appealing to those of us with kids, (of whatever age!) than a romantic dinner cruise, and yet the ducks are surprisingly comfortable!
You get the best of both worlds, seeing the sights from the river and being able to go right into the heart of the city. The tour starts from Chicheley Street (just behind the London Eye) then goes through the City of Westminster. On the way you’ll see Buckingham Palace, Westminster Abbey, Downing Street and Nelsons Column. Next it’s into the river down a slip way at Vauxhall. Now you cruise along the Thames and get the best view of the Houses of Parliament and Big Ben, Lambeth Palace and other places of interest. There’s an interesting and informative commentary to explain what you are seeing. The round trip lasts 75 minutes.
Day Passes on the Catamaran Cruises
If you want a tour but not a meal why not book a day pass? This will give you unlimited use of Catamaran’s Cruisers sightseeing cruises.
The Catamaran Cruisers sail between Embankment, Waterloo, Bankside, Tower and all the way to Greenwich. You can stay onboard for the whole cruise but I think you should definitely hop off at Greenwich.
It’s one of my favourite parts of London. Lovely old buildings by the river to walk around, nice quirky shops, good food, pleasant pubs and a great little market.
Just get yourself a timetable and spend the day river hopping. It’s one of my favourite London pastimes The River Pass is great value and means you pay just one fixed price for a whole day, no tubes, no nasty traffic. If you don’t like somewhere just hop on the next boat and try somewhere else!
Joseph star Lee Mead confirmed through to Jan 2009 May 10, 2008
Posted by Linda in : dates, joseph , add a commentAny Dream Will Do star Lee Mead has confirmed that he will continue to play the lead in Joseph until 10 January 2009.
It’s hard to think that Lee Mead was an unknown just eight months ago. He won the chance to appear in Joseph at the Adelphi in the BBC show Any Dream Will Do.
Lee has quickly established himself as one of the most popular stars in the West End. He’s won awards and nominations for best actor and best newcomer and has made himself a great reputation with West End audiences.
With show stopping numbers like Close Every Door to Me and Any Dream Will Do the current production of Joseph at the has been amazingly well received since it opened. It’s still a really hot ticket in town and once of the best ways to be sure of seeing it is to book your tickets as Joseph theatre breaks.
Here’s Lee in full flow:
Video courtesy of The Really Useful Group Ltd
And for the die hard fans here’s his audition tape where he first sang for Tim Rice, and didn’t recognise him:
Never Forget - preview first impressions May 10, 2008
Posted by Linda in : Never Forget, news, previews , add a commentNever Forget (Take That musical) opened a couple of days ago. I’d been wondering how it was going and today I found out. I got chatting to someone in the local coffee shop who turned out to have been at the second preview on Thursday.
She isn’t a big Take That fan but she was very favourably impressed. She thought the production was quite slick and had some great special effects. She particularly liked this rain sequence for ‘Back for Good’:
(this is from the tour so not the same actors - can you spot who the female is?)
Apparently Re-light My Fire has a great fire effect in the background too, very realistic.
It seems the story is well written and funny, although she was a bit worried by the slightly xenophobic portrayal of one of the tribute band as a comedy Spaniard. Too many funny foreign accent jokes wore thin and made her slightly uncomfortable. Still the story in general was good with a mix of dramatic moments along with the comedy.
As you might expect with a Take That theme there were quite a few dance numbers in the show. She particularly liked the one the Salsa Bar in Act 1 - high energy and sexy
She was surprised to discover that, just like all the Take That fans in the audience, she knew all the words to many of the songs including ‘A Million Love Songs’. In fact she said it was surprising that she recognised and remembered so many of the songs, just shows what a big influence popular music has even when we don’t realise it.
Anyway, on Thursday the Never Forget cast got a spontaneous standing ovation from a packed house. She said the whole thing was a huge buzz
Never Forget DVD via amazon:
Theatres Are Not “Museum Assets,” Says Lloyd Webber May 10, 2008
Posted by admin in : Theatres , add a commentTheatres Are Not “Museum Assets,” Says Lloyd Webber
In a debate in the House of Lords on 7th May, Andrew Lloyd Webber spoke of the conflict between the need to protect listed buildings and the requirements of modern audiences and performers.
“A substantial part of the cost of the recent refurbishment of buildings such as the Royal Festival Hall, the Coliseum and the Royal Opera House was the cost of maintaining the heritage aspects of the buildings,” he said. “We are talking about many, many millions of pounds, not the odd hundred thousand. For example, to install the air conditioning that is badly needed in the Theatre Royal Drury Lane would cost in the region of £15 million. Were it not to be a grade 1 listed building, the figure would be about £1 million to £2 million. The reason is that the Theatre Royal Drury Lane has no cavities in its walls in which air conditioning can be installed. The listing requirement means that every internal wall of the building would have to be taken down, a cavity for air conditioning created, and the wall rebuilt exactly as it was originally constructed.
“The difficulty for commercial theatre owners is that this expenditure yields no economic benefit in terms of the operational viability of their buildings. Not one more seat becomes available for sale as a result. Indeed, improving the audience experience while retaining the architectural qualities of the building normally means losing seats, which commercial theatres can ill afford to do.”
He also spoke of the problems facing the Palace Theatre in Cambridge Circus, which his Really Useful Theatres bought in the mid-eighties.
“The Palace has only 1,416 seats,” he said. “If all those seats were great, it would be a wonderful medium-scale musical or opera house, but they are not. Three hundred and seventeen of them are in one of the most vertiginous balconies in theatreland today and very hard to see from or to sell. They are cramped and impossible to reseat due to the rake. Thirty-eight seats are in boxes which are great if you want to be looked at rather than watch the show, and 274 seats are considered to be restricted view.
“Thus this wonderfully sited musical house has in practice only the number of seats of a large playhouse. Combined with the capital costs of, say, £3 million to £4 million for a production of a scale to fill the building, the running costs of such a production, let alone the cost of maintaining the building, will become extremely unviable as a theatre without public or private subsidy. The Palace is just a tip of the iceberg. Maybe it is an extreme example, but the fundamental problem of the theatre’s difficulty in keeping its head above water in today’s market is replicated on a differing scale all around the country.”
He went on to compare the situation of the Royal Court: “Without in any way deprecating the splendid achievements in Sloane Square, I draw attention to the fact that the public funds given to refurbish the Royal Court exceeded the total profit made by the four Shaftesbury Avenue playhouses since the Second World War.”
Looking back to when the theatres were built, he added, “Times were very different from ours in a whole series of ways. People were physically smaller; there was less demand for bars and lavatories; it was assumed that the wealthy expected to be segregated from the hoi polloi in terms of auditorium ingress and egress; no one gave any thought to access for disabled people; and, for a significant number of patrons, being seen was far more important than being able to see what was on stage. We need only think about most 19th century opera houses. Backstage, dressing rooms for non-star names were cramped, poorly located and without showers. Technical capacities were severely limited by current standards in terms of lighting, sound and stage machinery. The modern audience, performer and artistic teams today all expect modern facilities. Decent sight lines are paramount today—nobody wants to sit behind a pillar all evening.”
He asked the government “what action they will take to mitigate the constraints placed upon owners of listed places of entertainment seeking to provide modern facilities for customers and to satisfy contemporary artistic demands?
“Ownership of a listed building imposes on the owner a kind of involuntary trusteeship of what is deemed to be part of our national heritage” he said, “but buildings that are in living contemporary use surely cannot be treated as if they are museum assets.”
He finished by saying, “I urge noble Lords to understand that I am not proposing the wholesale demolition of London’s West End, nor am I suggesting that the taxpayer is suddenly faced with a huge bill to refurbish our ageing commercial theatre stock. But as someone who has spent more than forty years professionally involved with musical theatre, I felt that it was time to put my love of theatre architecture to one side and at least draw the attention of Her Majesty’s Government to some of the issues that confront theatre owners and artists as we head for the second decade of the 21st century.”
Zorro the Musical - dates and rehearsals May 9, 2008
Posted by Linda in : garrick, zorro , 1 comment so farZorro The Musical will be playing at the Garrick Theatre from June 30th 2008 to January 10th 2009.
Zorro The Musical, with music by the Gipsy Kings, will be a great spectacle with aerial acrobatics, sword-fighting and authentic Spanish flamenco. Here’s a taster of the Gypsy Kings at the rehearsals to get you in the mood:
Nicolas Reyes (Lead Vocal), and Tonino Baliardo (Guitar) playing “Un Amor”. Flavio Rodrigues (b.vocals). Rehearsals “Zorro, The Musical” - London, 05/02/2008.
The story of Zorro is a dramatic and passionate tale of a romantic hero but with enough action to keep the most macho of companions interested. The high energy production combines authentic traditional Flamenco with the showmanship of the Gypsy Kings. This exciting group of musicians are already famous for bringing their popular version of traditional Spanish music to a worldwide audience.
A spokesperson for Zorro The Musical said:
“Crackling with action and adventure, this multi-million pound musical thrillingly brings to life the legend of the masked Spanish hero, the original crusader of justice.
“Zorro promises an evening of highly charged, swashbuckling musical entertainment.”
I’m sure it will - this is one I really have to see. I love flamenco!
