Showing posts sorted by relevance for query Celinde Schoenmaker. Sort by date Show all posts
Showing posts sorted by relevance for query Celinde Schoenmaker. Sort by date Show all posts
Saturday, 5 November 2022
Full Cast Announced for Doctor Zhivago In Concert
Full casting is announced for Doctor Zhivago- In Concert playing at the London Palladium for one-night-only on Sunday 7 May 2023.
Ramin Karimloo and Celinde Schoenmaker will reprise their 2019 roles as ‘Yurii Zhivago’ and ‘Lara Guishar’ and are joined by returning cast members Kelly Mathieson (‘The Phantom of the Opera, Into The Woods’) playing ‘Tonia Gromeko’ and Charlie McCullagh (’42 Balloons’ and ‘Bonnie & Clyde’) playing ‘Pasha Antipov (Strelnikov)’. Nadim Naaman (‘Broken Wings’, ‘Rumi: The Musical’, ‘The Phantom of the Opera’) will feature as ‘Viktor Komarovksy’.
The cast is completed by Maisey Bawden as ‘Olya’, Cavin Cornwall as ‘Alexander Gromeko’ and Emma Norman as ‘Anna Gromeko’ with Tilly-Raye Bayer as ‘Young Tonia’, Olivia Clark as ‘Young Lara’ and Samuel Newby as ‘Young Yurii’.
Doctor Zhivago- In Concert at The London Palladium is dedicated to the show’s composer Lucy Simon. Producers Jamie Lambert and Eliza Jackson said, “We were so saddened to learn of the passing of the brilliant Lucy Simon. She was a talent beyond words and we are honoured to dedicate this concert production of one of her favourite works to her”.
Based on the Nobel Prize-winning novel by Boris Pasternak, Doctor Zhivago tells the story of Yurii Zhivago (Ramin Karimloo), a political idealist, physician, and poet whose life is tossed by the tides of history as he is torn between a life with his close childhood friend and wife, and the passionate and mysterious Lara Guishar (Celinde Schoenmaker).
Ramin Karimloo and Celinde Schoenmaker will reprise their 2019 roles as ‘Yurii Zhivago’ and ‘Lara Guishar’ and are joined by returning cast members Kelly Mathieson (‘The Phantom of the Opera, Into The Woods’) playing ‘Tonia Gromeko’ and Charlie McCullagh (’42 Balloons’ and ‘Bonnie & Clyde’) playing ‘Pasha Antipov (Strelnikov)’. Nadim Naaman (‘Broken Wings’, ‘Rumi: The Musical’, ‘The Phantom of the Opera’) will feature as ‘Viktor Komarovksy’.
The cast is completed by Maisey Bawden as ‘Olya’, Cavin Cornwall as ‘Alexander Gromeko’ and Emma Norman as ‘Anna Gromeko’ with Tilly-Raye Bayer as ‘Young Tonia’, Olivia Clark as ‘Young Lara’ and Samuel Newby as ‘Young Yurii’.
Doctor Zhivago- In Concert at The London Palladium is dedicated to the show’s composer Lucy Simon. Producers Jamie Lambert and Eliza Jackson said, “We were so saddened to learn of the passing of the brilliant Lucy Simon. She was a talent beyond words and we are honoured to dedicate this concert production of one of her favourite works to her”.
Based on the Nobel Prize-winning novel by Boris Pasternak, Doctor Zhivago tells the story of Yurii Zhivago (Ramin Karimloo), a political idealist, physician, and poet whose life is tossed by the tides of history as he is torn between a life with his close childhood friend and wife, and the passionate and mysterious Lara Guishar (Celinde Schoenmaker).
With a book by Oscar nominee Michael Weller and lyrics by Tony nominee Michael Korie and Emmy nominee Amy Powers, Doctor Zhivago features a sweeping score by two-time Grammy winner and Tony nominee Lucy Simon.
Doctor Zhivago- In Concert is directed by Jordan Murphy (Sunset Boulevard, Matilda, Mary Poppins) with musical direction by Adam Hoskins (The Secret Garden, Dr Zhivago, Camelot).
Olivier and Tony Award nominee Ramin Karimloo made his name in some of the West End's most enduring productions, most notably The Phantom of the Opera and Les Misérables. He originated the role of the Phantom in Phantom of the Opera sequel Love Never Dies in 2010 before making his Broadway debut in the 2014 revival of Les Misérables.
Karimloo has also performed show tunes on a series of solo recordings, including his second album, 2019's From Now On, which landed on the Billboard Heatseekers chart. He is currently starring as Nicky Arnstein in Funny Girl on Broadway.
Celinde Schoenmaker is a Dutch actress and singer, known for appearing as Fantine in the West End production of the musical Les Misérables and as Christine Daae in the West End production of The Phantom of the Opera. Other London theatre credits include Jenny Lind in Barnum at the Menier Chocolate Factory. She also played Renate Blauel in the Elton John biopic Rocketman.
Doctor Zhivago- In Concert is produced by Lambert Jackson and Positive Sum Productions.
Founded by Jamie Lambert and Eliza Jackson in 2018, Lambert Jackson were recently nominated for an Olivier for Best Play for their production of Cruise at the Duchess Theatre with a successful return run at the Apollo Theatre this August/September. They are arguably one of the most exciting theatrical production companies in the UK at the present time. Having been put on the map by their production of the UK Premiere of Doctor Zhivago the musical, they entered the global pandemic with vigour and determination, creating one of the largest online concert series the UK has ever seen, Leave a Light On and leading the way with streamed productions such as The Last Five Years, BKLYN, title of show, Songs for a New World - the latter opening the West End at a sell-out concert at the London Palladium.
Founded in 2022, Positive Sum Productions was created to cultivate original theatre, and celebrate existing shows already loved by many.
TICKETS CAN BE FOUND AT www.lwtheatres.co.uk
Wednesday, 2 March 2022
Mimma (Concert), Cadogan Hall | Review
Mimma (Concert)
Cadogan Hall
Reviewed on Monday 28th February by Holly Inch
★★★★★
Ron Siemiginowski and Giles Watson’s Mimma tells the story of two women who form an unlikely friendship in the midst of World War 2: Sarah, an aspiring jazz singer, and Mimma, a young Italian girl sent to live with her uncle in London’s Soho. Through the growing fear in London, her brother’s arrest, and the tension between Italy and England, Mimma’s danger grows evermore, and she could lose everything- apart from the only person that she can trust: Sarah.
Mimma’s one night performance was not something to be missed and showcased the best of what theatre has to offer. The musical concert took place at Cadogan Hall and included a cast of seventeen alongside the BBC Concert Orchestra. The stage didn’t include much set, however the cast brought the story to life with the props, tables, and chairs that they had (I must note, there were also projections on the back wall that helped differentiate from scene to scene). All of the cast members were fitted with beautiful 1940’s outfits that only added to the world of Mimma and looked amazing on stage together.
The show’s cast were phenomenal. Led by Sir David Suchet as Alredo Frassati, Celinde Schoenmaker as Mimma, and Louise Dearman as Sarah, all of whom brought Mimma’s story to life through the score and the phenomenal 40s style choreography, brilliantly choreographed Chris Whittaker. Celinde Schoenmaker was outstanding as Mimma, bringing her powerful soprano voice into the. Her portrayal of the hardships that Mimma goes through was unparalleled, her acting beautifully natural, and her higher register something to marvel. As her on stage friend, Louise Dearman was a standout role. Dearman brought such range to the role of Sarah that you found it hard to believe that she hadn’t gone through the experiences that she portrayed on stage. Aside from that, her singing was utterly beautiful and captivating to listen, combining jazz and opera styles into a wonderful blend that was heavenly to hear. Her performance of 'The Folds of Time' (a beautifully emotional song about Sarah and her fiancé, who is in the navy) was so sweetly sung and incorporated such truth tied into it.
John Owen-Jones as Lorenzo- though we didn’t see this part as much as some others- was brilliantly played and sung and was exactly what you would expect from the amazing Owen-Jones. A beautiful moment in the show came when Ashley Riches- playing Aldo Marini, Mimma’s brother- and Elena Xanthoudakis- playing Ada Marini, Mimma’s mother- sang together in the song 'Aria Pieta'. The two’s voices blended well together, and they had a beautiful dynamic as mother and son. Riches specifically had an incredible range on him and portrayed the hardships experienced by Aldo in a way that had me almost in tears. Riches and Xanthoudakis joined Schoenmaker in an out-of-this-world group number called 'Aria Piemontese' which left my jaw on the floor.
Steve Serlin as Jacob Katz was another stand out performance because his comedy timing was impeccable and brought the comedic relief that left the audience with smiles on their faces. The ensemble just made the show. They constantly were acting, singing, dancing, and just all together brought their moments to life. The dancing was to an amazingly high-standard, and their vocals added a wonderful layer to the song.
With a wonderful composition, an absolutely phenomenal cast with insane vocal, Mimma was a fantastic musical and spoke on issues faced during World War 2 in a respectful and truthful light. I only hope that this is the start of a bright future for this musical.
photo credit: Danny Kaan
Sunday, 3 February 2019
West End Women, Cadogan Hall | Review
West End Women (Concert)
Cadogan Hall
Reviewed on Saturday 2nd February 2019 by Olivia Mitchell
★★★★
After their Cadogan Hall debut, Lambert Jackson Productions are back with West End Women, featuring three of the most prominent performers UK theatre has to offer: Rachel John, Lauren Samuels and Celinde Schoenmaker. Taking us on a loose history of women in theatre and melting our faces off with vocal gymnastics, this was a wonderful way to spend a Saturday evening.
Despite the biting wind outside and the snow enveloping the country, Cadogan Hall felt warm and buzzy as it was taken over by powerhouse performance followed by powerhouse performance. The trio opened with the upbeat 'I Got Rhythm', before some solo showcases of their voices. A simplistic and heartwarming rendition of 'Someone To Watch Over Me' brought stillness to the room thanks to Celinde Schoenmaker. Lauren Samuels kept us in the 20s with a beautiful rendition of 'Lady, be Good'; whilst Rachel John brought us a decade further forward with the sultry and smooth 'Summertime'.
The ladies were then joined by the MX Masterclass choir for 'Blow Gabriel Blow', followed by a Rodgers and Hammerstein medley of 'It Might As Well Be Spring', 'My Favourite Things' and 'If I Loved You'. The choir then gave a vivacious and humourous performance of 'America' which brought some real energy to the concert and gave us a glimpse into the future of the West End.
Also giving us the inside scoop on 'Names To Remember' were the wonderful competition winners who performed throughout the concert. Three became six as act two opened with the merry murderesses in the 'Cell Block Tango', before Brady Isaacs Pearce gave a spine tingling performance of 'A Piece of Sky'. I've said before that Brady is one to watch out for and her continually more brilliant performances are just evidence of that. Watch out West End! Fourteen year old Talia Robens was equally as powerful with 'Everything I Know', which she performed with effortless grace.
West End Women presented music from 1930 all the way to 2017 and showed just how timeless the songs and stories are. Every performance was a faultless delight but some highlights among the highlights included Lauren's gloriously clear renditions of 'Maybe This Time' and 'Never Enough'; Celinde's 'Think of Me' and Rachel's 'I Never Knew His Name' (Bring Brooklyn to the West End now please). All three women gave vocal masterclasses as their technique and power provided the backbone to the entire night. Whilst each powerhouse brings something individual to the table, the trio also work gloriously together and their clear as glass voices ring out with pure sincerity and strength in the acoustically great space of Cadogan Hall.
Alongside the fantastic musicians (expertly led by Adam Hoskins) this was a really great night which reminded me of why the music part of musical theatre is so special and moving. For a masterclass in technique, go see these ladies in their future endeavours.
photo credit: Mark Sykes
Friday, 25 August 2023
Love Never Dies in Concert at the Theatre Royal Drury Lane Review: Musicality Reigns Supreme
Love Never Dies in Concert
Theatre Royal Drury Lane
★★★★
Once again, the LMTO and Fourth Wall Live have joined forces to bring a musical to life in concert form with a stellar cast and stunning music. This time, it’s the much discussed and dissected Love Never Dies, which hasn’t been staged in the West End since 2011. For two days the Theatre Royal Drury Lane played host to the latest iteration of the show which mesmerisingly took audiences back to the world of the Phantom and Christine. With the spotlight on a talented cast, and powerful orchestrations, this concert rendition really let the music shine and provided a memorable theatrical experience for those in attendance.
With such a brilliant cast, it’s no surprise that the performances were broadly nothing short of exceptional, capturing the essence of the characters and their emotions. Celinde Schoenmaker stepped back into the role of the beloved songbird, Christine Daae and did so in an utterly magical way, with her soaring soprano perfectly bringing the score to life and dazzling throughout her time on stage. Alongside her, Broadway veteran Norm Lewis put mask back on (in this case a swanky gold number) and became the musical Phantom of the Opera once again. His gorgeous baritone vocals provided some spectacular moments, especially in the rousing Till I Hear You Sing and it’s always a treat to see him on a West End stage. It did however seem that the rock number The Beauty Underneath was not performed live, which is a bit disappointing in a show of this calibre, and it would be interesting to know what prompted this decision from the creative team. This isn’t a criticism of anyone in particular, but perhaps opens a wider conversation about how these concert versions are rehearsed and put together. Of course it’s a massive task to create such strong shows in a short amount of time and given their minimal runtime it’s understandable that the turnaround has to be fairly quick, but it would be curious to know if it’s possible to create a rehearsal process that works for everyone involved and doesn’t leave the audience feeling shortchanged.
Aside from this, the music was incredibly strong, with a number of stand out moments that brought to life the deeply evocative and emotive feelings which course through this show. As Meg Giry, Courtney Stapleton brought a lovely buoyancy and freshness which showed the character in a new and engaging light, whilst Matthew Season-Young provided some strong vocal moments as Raoul. The supporting cast, including the London Musical Theatre Chorus deserve commendation for their remarkable vocals which truly soared in the Theatre Royal Drury Lane.
Staging wise, this was one of the less full-out concerts compared to others but it still did an excellent job of evoking the world of Phantasma and showcasing some of the whimsy of Coney Island. Rebecca Brower’s costumes were very in keeping with the gothic vibes and cleverly mirrored some of those from the original Phantom production, overall creating a dynamic atmosphere which cleverly set the place and time, without overshadowing the music.
The LMTO orchestra, under the baton of Freddie Tapner, masterfully captured the intricate emotions of the music, underscoring the characters' journeys with every note. The majestic melodies and haunting refrains were a testament to the timeless quality of Lloyd Webber's composition and it was such a treat to hear the score performed by such a large group of highly talented musicians.
While Love Never Dies has faced criticism for its narrative depth, the concert format seemed to address some of these concerns. The live performance allowed the characters to shine and their relationships to be explored with greater nuance. A lot of the plot is quite frankly ludicrous and the characters have taken complete 180s from their initial iterations but this concert format seemed to be a perfect vehicle for highlighting the strengths of the piece while minimising its perceived weaknesses.
Overall Love Never Dies in Concert, was a captivating and emotionally resonant experience. The talented cast and impeccable orchestral accompaniment combined to create a theatrical event that honoured the legacy of its predecessor while standing as a powerful production in its own right. Many of the original book issues still stand but from the audience reaction, it’s clear that this is still a show which many hold close to their hearts.
Reviewed on Tuesday 21st August 2023 by Olivia Mitchell
{AD PR Invite- tickets gifted in exchange for honest review}
Thursday, 20 June 2019
The Light in the Piazza, Royal Festival Hall | Review
The Light in the Piazza
Royal Festival Hall, Southbank Centre
Reviewed on Wednesday 19th June 2019 by Olivia Mitchell
★★★★★
The Light in the Piazza is a contemporary musical which invokes all the feelings of the golden age and is a sumptuous treat for the eyes and ears. The marvellously swooping score by Adam Guettel whisks you away from the opening moment and enthrals you in the beauty and magic of this delicate Italian love story.
Margaret Johnson (Fleming) is a well to do Southern lady who brings her fragile daughter Clara (Cameron) to Florence for a holiday. When Clara falls for a young Italian, Fabrizio (Houchen), Margaret is understandably protective and sceptical. Other than that, very little happens book wise but thanks to the glorious performances and production values, this is a divine musical.
Margaret Johnson (Fleming) is a well to do Southern lady who brings her fragile daughter Clara (Cameron) to Florence for a holiday. When Clara falls for a young Italian, Fabrizio (Houchen), Margaret is understandably protective and sceptical. Other than that, very little happens book wise but thanks to the glorious performances and production values, this is a divine musical.
As Clara, Dove Cameron is a marvel. A perfect combination of charm, innocence, an unruly heart and a headstrong mind, she lights up the stage every second she's on it (which is most of the show). Equally, the more intensely dramatic moments of the musical are performed with a candor and aggression which strikes and moves the audience. Cameron is a true star with vocals to match her captivating performance.
Rob Houchen has a way of surprising audiences with each role he takes on. This time it's the Italian leading man, Fabrizio, who is swoon-worthy, humourous and charismatic. As always Rob's acting performance is strong, with the comedic moments especially landing well; but it's Houchen's vocal performance which solidifies him as the dream casting choice for this role. The swooping vocals seem to pour out of thin air as Rob captures every moment with ease and control. Alongside Cameron, the pair create a chemistry which fizzles around the Festival Hall and creates a fuzzy feeling from start to end.
Taking the role of the protective mother, Renée Fleming soars. Her deep operatic voice fills the festival hall but still manages to capture the intimate vulnerability she feels throughout. Mention must go to Mick Potter who has designed the sound of this show excellently. With the mix of operatic and musical theatre performers, there is always a risk of one overpowering the other, especially with opera performers usually being unmiced but this is not the case at all and the two styles meld and compliment each other fantastically.
Celinde Schoenmaker oozes sass as she struts across the stage in a smooth two piece and provides some of the musicals conflict during her marvellously performed The Joy You Feel. Liam Tamne is light relief as her husband Guiseppe Naccarelli. Alex Jennings also gives a memorably suave performance as patriarch Signor Naccarelli.
Brigette Reiffenstuel's 'frocks' are completely divine and indulgent, with floating fabrics and tailored Italian suits covering the stage. Backed by Robert Jones' simplistic but intuitive set, Dove Cameron seems almost doll like as she twirls around Italy in her magnificent pastel coloured clothing.
Sure, the story is lacking, but this is a show about love and you can't help but feel overcome by warmth as you watch it all play out. There are many a predictable moment, but thanks to Daniel Evans' direction, they're all carried out so well that they feel fresh and unexpected, regardless.
The Light in the Piazza runs at the Royal Festival Hall until 5th July 2019
photo credit: Tristram Kenton
The Light in the Piazza runs at the Royal Festival Hall until 5th July 2019
photo credit: Tristram Kenton
Sunday, 26 August 2018
On The Town (Prom 57), Royal Albert Hall | Review
Prom 57: On The Town (BBC Proms)
Royal Albert Hall
Reviewed on Saturday 25th August 2018 by Olivia Mitchell
★★★★
What better way to celebrate what would have been Bernstein's 100th birthday, than at the Royal Albert Hall with a glorious performance of On The Town?! Written in 1944 with Adolph Green, Jerome Robbins and Betty Comden, this show is a light-hearted look at love which takes place over 24 hours in New York and is accompanied by beautifully woven music.
The plot follows three sailors who are in the Big Apple for one day only. Their time soon becomes commanded by some humourous, strong, powerful women who provide a larger than life experience. Each character is memorable and brilliantly performed by the stellar cast which celebrates some of the best the West End theatre scene has to offer.
Each cast member came at their roles with vigour and embraced both the humour and more nuanced moments, fantastically. Whilst the humour is repetitive at times, it was very well pulled off, with well timed motifs remaining humourous instead of grating, especially the entrances of Pitkin (Barnaby Rea) whilst his fiancé Claire (Celinde Schoenmaker) and Ozzie (Nadim Naaman) were getting closer and closer.
Nathaniel Hackmann's smooth vocals were especially striking as the lovestruck Gabey, whilst Siena Kelly was perfectly flirty and humourous as Miss Turnstiles, Ivy Smith. Claire Moore was equally witty as drunken singing teacher, Madame Dilly, and earned several laughs from the audience.
Whilst the entire leading cast were extremely strong, it was Come Up To My Place, a back-and-forth duet by Hildy (Louise Dearman) and Chip (Fra Fee) which provided the most memorable scene of the night.
This very simplistic concert, whilst beautifully staged by Martin Duncan, with basic projections and innovative prop usage, really just highlighted how stunning the score of On The Town is. The music has wit and sharpness embedded in it which brings the story to life without a need for dramatic sets and scene changes.
John Wilson brought the vivid score to life, conducting the London Symphony Orchestra with energy and bringing out flawless sounds. The varied musical sections showcased the adaptability and versatility of the orchestra and really evoked feelings of the golden age.
The full-house of the Royal Albert Hall were treated to a truly spectacular performance which you would be a fool to miss on BBC catch up! Full of joy and life, watching On The Town was a joyous experience.
photo credit: Mark Allan
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