Saturday 3 October 2020
The Theatre Channel, Episode One | Review
Innovation is coursing through the theatre community, as new ideas and ways to spread the joy of performance are brought to life everyday. One of these ways is the new brainchild of The Theatre Café and Adam Blanshay Productions: The Theatre Channel.
The channel is a series of musical episodes which celebrate the all-singing, all-dancing joy of theatre as well as showcasing fantastic performers and the café itself. Each episode is roughly half an hour long and features a different group of stage stars, as well as the Café Four (Alyn Hawke, Emily Langham, Sadie-Jean Shirley and Alex Woodward) who appear in each episode as a sort of omnipresent group of musical theatre muses. The performers are encouraged to perform songs or roles they've not previously had the chance to, which leads to an eclectic episode of musical excellence.
The first episode opens with the café four performing the very fitting Coffee in a Cardboard Cup, in which they use pretty much the entirety of the café to showcase their vocal, dance and acting skills; they're definitely a talented bunch! From then Tarinn Callender takes us on a soulful journey with On Broadway and Lucie Jones serves her stunning, clear-as-glass vocals with a brilliant rendition of Maybe This Time. Amongst an abundance of flowers, Carrie Hope Fletcher and Oliver Ormson bring the classic duet, Suddenly Seymour to life brilliantly. Jodie Steele takes things up an octave (and a level) as she gives a gender-switched version of Heaven on Their Minds from the roof of the cafe, which oozes sass and strength. Rounding off the episode, Matt Henry is smooth and oh so stirring with Let It Sing from Violet and Jenna Russell is completely excellent in every way with Sondheim's Ladies Who Lunch.
Whilst of course the performances are uniformly wonderful, it's the production value which really makes this series worth the hype. Ben Hewis' outstanding videography is sleek, high quality and just beautifully shot; and alongside Bill Deamer's choreography-which is astoundingly bold for happening in such a small space- the whole thing feels much more cinematic than any of the online theatrical offerings so far.
The creative team clearly have a strong vision and there's no doubt that each episode is going to be a step bigger and bolder. With themed episodes in the works including the upcoming Halloween episode, there are sure to be surprises galore. With everything from the vocals to the finished product being recorded on the premises, this really is a celebration of not only theatre and performance, but the Theatre Café itself where the arts still has the space to thrive, even when performances themselves are few and far between.
With a great team behind it, this series is a treat for those missing theatre and a gem of an online offering. Once purchased for £12 you have unlimited access to the episode so you can relive the stagey goodness time and time again. So grab your laptop and take yourself on a virtual trip to the theatre.
★★★★★
Monday 21 September 2020
Original West End Stars of Six to perform Reunion concert
The Reunion brings together seven of the UK’s top vocal powerhouses for an epic evening of empowering pop music in a unique intimate venue.
Performing together for the first time since their reign as the original West End queens of the musical SIX, these women are close friends on stage and off, and have been eager to perform together again. They shared: “We are beyond thrilled and excited to be back together again with our reunion show! and with an actual LIVE audience! We cannot wait to belt out some of our favourite girl power anthems and bring our fans an epic show they will never forget!”
The Reunion stars Aimie Atkinson, Alexia McIntosh, Grace Mouat, Jarneia Richard-Noel, Maiya Quansah-Breed, Millie O’Connell, and Natalie Paris. Each has an Olivier Award nomination, prestigious theatrical and concert credits, and they have been featured on studio recordings, cast albums and concert livestreams spanning musical theatre and pop.
The live performances and streaming are ticketed and run by theatre platform Thespie which aims to be the most trusted way to discover theatre and the arts. Thespie launched in May as a means to keep people connected to theatre and the arts during lockdown, and now offers more than 1,500 digital streaming listings as well as audio, theatre ebooks, and educational resources, including nearly 400 productions to stream for free. Now that London live indoor theatre performances can safely resume, Thespie has expanded to develop ways to help artists resume working safely in the current conditions.
Commenting on the announcement, Thespie founder Tyler Stoops said: “These incredibly talented artists are the ideal collaborators to deliver a thrilling performance for in-person and at-home audiences simultaneously. So many people are ready to experience incredible shows again and are happy to follow robust, simple-to-follow safety measures, so we’re proud to be solving the operational challenges that can get artists working again.”
Performances will be held in Oval Space, a spacious and well-ventilated East London venue that has been entirely reimagined for safe, seated music and theatre performances. The seating plan is entirely flexible which allows seating to be customised to the audience that books. Audiences book for themselves and their household or support bubble only (to a maximum of six), and Thespie’s technology determines a seat plan that ensures safe spacing between households and optimises use of the space. Audiences receive their seating assignment and scannable digital ticket prior to the event.
Additional safety measures in place include:
• Time indoors is minimised using ample outdoor space and the terrace bar
• Scannable digital tickets, with no paper tickets or box office collection
• Seating is by household/support bubble with appropriate distance between each
• Masks are required and should be worn whenever feasible
• Thorough cleaning of all customer areas between performances
• If the performance cannot proceed, purchasers will automatically be refunded
The global livestream will take place at 9:30PM BST on Saturday, 10 October and will be available in over 100 countries, with several local currency prices available. Advance purchase of a Household Livestream Pass is £12.50 (or $15 US) if booked before 30 September. One pass entitles the purchaser to view with their entire household live, or on-demand for 72 hours following the initial livestream. Repeat viewing is permitted, but a pass can only be used on a single account and a single device. Livestream Pass prices rise in October to £15 ($18 US).
Live tickets are £35-£55 and can be booked at https://thespie.com/TheReunion
photos by Danny Kaan
Saturday 19 September 2020
Pippin, Garden Theatre | Review
Pippin
Garden Theatre, Vauxhall
Reviewed on Friday 18th September 2020 by Olivia Mitchell
★★★★
After six months of a world with no in person theatre, it feels almost foreign to see a stage in front of you with real life performers, performing real life music, but ever so slowly it's becoming the norm again. Well, the new, socially distanced norm.
The Garden Theatre in Vauxhall are paving the way for the reopening and reconfiguring of venues as one of the first to put on productions in this post-lockdown world. The latest in their programme being Stephen Schwartz's Pippin; the tale of a boy trying to prove he's extraordinary as he finds his place in the world. A show which often excels by involving the audience could be a strange option given the regulations, but the cast do an outstanding job of making you feels as though you're getting a personal performance and that you're part of the story, without being too close. The team of "players" who are often shown as circus performers, are in this production, a hippie tribe who are telling the tale of young Pippin. Together they weave a story of drama and excitement which feels truly uplifting and joyous during these unpredictable times.
Thanks to Steven Dexter's Direction, this is a production which highlights all the wonderful parts of fringe theatre and Nick Winston's choreography is overwhelming in all the best ways. Bursting from all nooks and crannies every movement feels both precise and free and it's amazing how much power has been fit into such a small space. Plus, the way so many dance styles (including wonderful homages to Bob Fosse) flow into one another, is truly sensational to experience.
The title role is taken on expertly by Ryan Anderson who relentlessly showcases his brilliant vocals and outstanding dance ability, whilst making Pippin a multi-faceted, endearing, earnest and infuriating character. His renditions of Corner of The Sky and the motif versions which are consequently peppered throughout are beautiful and controlled oh so well.
Pippin's glamourous, manipulative "normal" step-mother is played excellently by Joanne Clifton who also takes on the role of the sweet and sassy Grandmother, Berthe. Each moment of Clifton's stage time is completely electrifying. Whether she's ad-libbing hilariously or leading the audience in a singalong she finds a way to completely draw the audience in.
It would be shameful to not mention the rest of the cast who bubble with energy throughout. Harry Francis is playfully enjoyable as the self-obsessed bother Lewis and sweet Theo who longs for a father figure and also provides vocals which stand out due to their exceptional power and mastery. As Charlemagne Dan Krikler is dominant and impressive and his Gilbert and Sullivan-esque solo is a right treat; he leaves you wanting more from him once his individual moments end . Tsemaye-Bob Egbeis takes on the role of the Leading Player with ease and freedom. Her vocals soaring above the sounds of passing busses and her movement around the stage oozing authority. Completing the cast, Tanisha-Mae Brown thrives in the intimate moments of the show and is in beautiful contrast to the more high-octane, over the top moments of the story.
The only downside to this production is the sometimes questionable approach to social distancing. While the staff are brilliant and it appears lots of measures have been put in place such as temperature checks, table service, copious amounts of hand sanitizer and social distancing before the show, the actual auditorium is somewhat cramped. Seats are very close together which it does feel strange when everything else is so organised. Whilst the audience does only seat 50, it would perhaps be better to have even fewer seats for the moment.
Despite this, the terrific cast of triple threats make this bittersweet, upbeat and consistently enjoyable musical a must see (covid permitting, of course). There's magic to do and the Garden Theatre are certainly doing the most they can in these crazy circumstances to do it.
Photos by Bonnie Britain Photography
Monday 14 September 2020
Six to be the first West End musical to open post-Lockdown
The international smash-hit SIX announces that it will be the first West End musical to reopen since Lockdown
Electrifying musical phenomenon SIX by Toby Marlow and Lucy Moss will become the first West End musical to resume performances in a West End theatre when the show temporarily moves from its home at the Arts Theatre to the Lyric on Shaftesbury Avenue for a limited 11-week run beginning on Saturday November 14 through to January 31, 2021.
SIX will perform 9 shows a week at the Lyric Theatre. Capacity has been reduced to comply with COVID-19 Secure guidelines for social distancing plus robust risk mitigation. In addition to hand sanitation, face coverings and track and trace, other measures will include contactless tickets, temperature testing and the deep clean and sanitation of the theatre.
Simultaneously SIX is announcing that the UK Touring Cast will resume performances in the Lyric Theatre at the Lowry in Salford from Friday November 27, 2020 for a 6-week Christmas season.
SIX producers Kenny Wax, Wendy & Andy Barnes and George Stiles say, ‘Across our two UK productions of SIX we have the opportunity to give work to 100 or so actors, musicians, technicians, stage managers, production managers, costume makers, marketing, press, ticketing and office staff. We accept that with social distancing it is unlikely to be economically viable, but we hope to entertain many thousands of theatregoers who have been starved of live entertainment since March. We hope that opening SIX will help build audience confidence and bring business back to the local economy. We also understand that restarting productions, particularly musicals, remains impossible for most producers for reasons of scale, finance and lack of cancellation insurance. We continue to look forward to the day when social distancing is removed and theatre can play to 100% capacity.”
SIX has become a global phenomenon since its early days as a student production in a 100-seat room at Sweet Venue during the 2017 Edinburgh Fringe Festival. As the pandemic struck, SIX was playing to sold out houses in London’s West End, across the UK and Australia, and had its opening night in New York on Thursday March 12 cancelled when the New York Governor shut down Broadway three hours before the show was due to open.
SIX will return to the Arts Theatre in March 2021 subject to the lifting of social distancing, and ‘Get Up, Stand Up! The Bob Marley Musical’ opens at the Lyric.
Tickets for SIX at the LYRIC THEATRE will go on sale at 8am Friday 18 September
Photos by Eleanor Howarth
Wednesday 2 September 2020
16 Her-storical Facts That Didn't Make it into Six The Musical
Six the Musical isn't only full of absolute boppage, but also a fair few facts about the Queens we know and love. However, the 75 minute musical can't cover everything so here are sixteen herstorical facts you may not know...
1. Twenty one years Henry’s junior, Catherine Parr was actually named after Henry’s first wife, Catherine of Aragon, to whom Catherine’s mother had been a lady-in-waiting.
2. Before marrying Henry VIII, Catherine of Aragon was married to his elder brother, Arthur. Arthur died of a mysterious “sweating sickness” shortly after their marriage, leaving Catherine a widow at just 16 years old.
3. Between Arthur’s death and her marriage to Henry, Catherine served Henry’s father (Henry VII) as the royal ambassador to Spain, making her the first female diplomat in European history.
4. The day after Anne Boleyn’s beheading, Henry got engaged to Jane Seymour, Anne Boleyn’s lady in waiting. While she was publicly proclaimed queen, her coronation never went ahead due to an outbreak of plague.
5. Catherine Parr was a dedicated patron of the arts, and she encouraged the spread of Renaissance humanism. When Spanish scholar Juan Luis Vives wrote a book arguing that women had the right to an education, he dedicated it to Catherine.
6. As a young woman, Jane Seymour almost married William Dormer, the son of Sir Robert and Lady Dormer. However, William’s mother canceled their engagement because she thought Jane wasn’t noble enough.
7. Two months before her execution, Anne Boleyn helped pass the poor law which said that “local officials should find work for the unemployed”
8. Contemporaries held Holbein’s pictures to be accurate depictions of the girls—not flattering misrepresentations, as the legend came to describe them. However, both Anne of Cleves and her sister Amalia wore veils covering their faces most of the time, so it is believed that it was a struggle to get them to reveal themselves for portraits.
9. Jane Seymour divided opinions, with one courtier saying she was “not of much beauty,” whilst another named her “the fairest of all the king’s wives.”
10. Henry’s treatment of Catherine of Aragon after their divorce caused a major rift between Henry and his daughter, Mary. To help curb Mary’s resentment, Henry forbid the mother and daughter from communicating, but sympathetic servants secretly carried letters back and forth between them.
11. According to one legend, Henry wrote the famous, anonymous “Greensleeves” to seduce the woman who would become his second wife, Anne Boleyn.
11. According to one legend, Henry wrote the famous, anonymous “Greensleeves” to seduce the woman who would become his second wife, Anne Boleyn.
12. Catherine of Aragon remained married to Henry VIII for 24 years. Their marriage lasted longer than all of Henry’s other marriages combined.
13. Catherine Howard was at least two, if not seven, years younger than Henry's daughter Mary, so she found it very hard to be a motherly figure
14. Catherine of Aragon spent her final days as the image of Catholic piety. Though she had access to all of Kimbleton Castle, she remained in a single room, fasting and praying.
15. During his courtship with Anne of Cleves, Henry also considered her sister, Amalia! After Holbein returned and Henry saw both portraits of the women, he went with Anne over Amalia. Many historians agree that the choice probably had less to do with looks, and more because as the younger daughter, Amalia had less hereditary rights than her sister.
16. Whilst still married to Anne, Henry began a flirtation with Jane Seymour, even giving her a locket with his own portrait inside!
15. During his courtship with Anne of Cleves, Henry also considered her sister, Amalia! After Holbein returned and Henry saw both portraits of the women, he went with Anne over Amalia. Many historians agree that the choice probably had less to do with looks, and more because as the younger daughter, Amalia had less hereditary rights than her sister.
16. Whilst still married to Anne, Henry began a flirtation with Jane Seymour, even giving her a locket with his own portrait inside!
So there you have it, sixteen facts about the Queens of the castle! Hopefully it won't be long until we can rock out like royalty at the theatre, but in the meantime, stay safe and channel your inner queen!
Friday 14 August 2020
Indoor Theatre Allowed To Resume From Weekend
It has been announced that from the weekend socially distanced audiences can return for indoor performances in theatres, music halls and other venues. Building on pilot success from a number of venues, including the London Palladium.
Oliver Dowden said that this is Another important step on the recovery of the arts, helped by the government's £1.57bn rescue package and that this government is #HereForCulture
This is a developing story
photo credit: FreePik
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