Showing posts sorted by relevance for query Tim Howar. Sort by date Show all posts
Showing posts sorted by relevance for query Tim Howar. Sort by date Show all posts
Tuesday, 5 November 2024
Cast Announced for Stiles + Drewe’s Best New Song Prize Concert 2024: A Star-Studded Celebration of New Musical Theatre Talent
Prepare for an unforgettable night of new musical theatre as Mercury Musical Developments and Stiles + Drewe, in partnership with Broadway Licensing Global, present the 2024 Best New Song Prize Concert. Hosted by Olivier Award-winning actor Jenna Russell, this one-night-only gala will take place at The Other Palace on Monday, December 2 at 7:30 pm, showcasing the incredible talent of both emerging and established musical theatre creators.
This unique concert features a glittering cast, including stage icons like Charlie McCullagh (42 Balloons, Jesus Christ Superstar), Desmonda Cathabel (Aladdin, Miss Saigon), Lauryn Redding (Standing at the Sky’s Edge), Natalie Paris (Pretty Woman, SIX), Obioma Ugoala (Frozen, Hamilton), Samuel Barnett (Rock Follies), and Tim Howar (Rock of Ages, The Phantom of the Opera). Also performing are Allyson Ava Brown (Hamilton, Les Misérables), Cassius Hackforth (Something Rotten), Dan Partridge (Grease), Jodie Jacobs (Hello Dolly!), and Liv Andrusier (Fiddler on the Roof).
Alongside performances from these incredible artists, the event will feature songs from recent British musical successes like Becoming Nancy, Cable Street, Two Strangers (Carry a Cake Across New York), and 42 Balloons. The evening celebrates the vitality of new writing with a special showcase of 12 finalist songs, which include:
- 'The Temptation of Me' from Proud by Mark Anderson & Lee Freeman
- 'I’m Going to Stay With You' from The Tale of the Gifted Prince by Lezlie Wade & Dan Green
- 'It Starts Small' from Unfolding by Emma Vieceli
- 'Ideal Robot Assistant' from A.I. Will Solve All Your Problems by Leo Mercer
- 'Someday My Prince Will Come' from Queering the Canon by Cheeyang Ng & Eric Sorrels
- 'Viareggio' from Lifeboats by Gus Gowland
- 'Die Like Trees' from Girl Goes to the Underworld by Sam Norman & Bela Kawalec
- 'Hero' from Man Vs Snake the Epic Musical by Stuart Matthew Price & Daniel Fletcher
- 'Spread a Little Joy Around the Place' from Retail Therapy by Hilmi Jaidin
- 'Locked Away' from The Queen is Mad by Amy Clare Tasker & Tom McGrath
- 'Drek!' from Otto's Weidt's Brush and Broom Workshop for the Blind by Amir Shoenfeld & Caitlyn Burt
- 'Invisible' from Hatched! by Lydia Shaw & Edward Court
A distinguished panel of judges, including Chris Bush, George Stiles, Anthony Drewe, and Joanne Benjamin, will select the winning song, awarding £1,000 toward the winner’s development. An additional award recognising Voice, Vision & Potential will also be presented. Sponsored by Broadway Licensing Global, Dorico, Tarento Productions, and Kenny Wax Productions, the Best New Song Prize Concert celebrates the vibrant future of British musical theatre and its outstanding creative talent.
Tuesday, 1 May 2018
Chess, London Coliseum | Review
Chess
London Coliseum
Reviewed on Tuesday 1st May 2018 by Olivia Mitchell
★★★
Benny and Björn’s musical Chess is somewhat of a hidden gem in my mind. There are a number of ‘famous’ songs but other than that the show flies fairly under the radar in the grand scheme of musical theatre. Since seeing the 2008 concert version at the Albert Hall, I have been somewhat obsessively championing this musical so was thrilled to hear it was returning to the West End in the glorious London Coliseum.
The production values of this show are outstanding. Matt Kinley's set design is minimalistic but striking, with simple set movements creating a whole change in mood and atmosphere. Patrick Woodroffe's lighting is suitably 80s-music-video-chic and Terry Scruby's video design and use of screens either side of the stage adds a unique element as well as a way for those further back in the massive Coliseum to feel a part of the action. However, the screens at times do feel overwhelming and draw away from the drama rather than highlighting it. All technical aspects of the show work wonderfully though and tie the story and music together to create a cohesive mood. It's the cast which unfortunately lets the show down.
Michael Ball as the Russian, Anatoly, is vocally great but it feels as though he's coasting through and just singing the music note by note rather than bringing out the passion within it. Act 2 is certainly more convincing but there's a lack of compassion with the character and overall his performance is unfortunately underwhelming.
Tim Howar growls his way through the show and at times is overly aggressive, even for the character. But his rendition of Pity the Child #2 is absolutely, breathtakingly brilliant and worth the ticket price alone. Cedric Neal as The Arbiter is shamefully underused as his smooth, riff-filled vocals are a highlight of the show. He's a sleek, expressive performer who deserves more stage time.
On the female side, the two leads work well together in their duet of I Know Him So Well and their love/resentment towards Anatoly is well acted but one is clearly better than the other. Alexandra Burke is strong at times but her varying accent and tendency to sing the songs as though she's performing in a pop concert take away from the heart-breaking story of Svetlana. Someone Else's Story falls flat for me but He is a Man, He is a Child was a look into what an emotive role this could be. I look forward to hopefully visiting the show again to see how Alexandra settles into the role and makes it her own.
Cassidy Janson delivers a touching performance, especially during the finale and really works with what she's been given. Some moments seem as though Cassidy is toning down her vocals to fit with others which is a shame, but again something which will hopefully be remedied in future performances.
The ensemble are a tight knit, well-oiled machine who do a wonderful job of transporting us to various locations and do justice to the fantastically diverse score which includes operatic, rock, musical theatre styles and more.
Despite the star names attached with Chess, it's really the music that steals the show. Benny and Björn's virtuosic score soars and stoops in the most stunning, moving way. The outstanding orchestra are faultless- you’d be hard pressed to hear the music played better than by the glorious musicians in the vast space of the Coliseum.
There have been a number of cuts and changes to the show, most of which are welcome, however I particularly missed Commie Newspapers which sets up the political conflict between Anatoly and Freddie and provides a clear plot line for those unfamiliar with the show to follow. The character of Walter DeCourcey of Global Television is also noticeably absent which leads to the final confrontation between him and Florence never happening. The dialogue between the two where it’s revealed Florence’s father may not be alive after all and she decides she’s done with Chess, and games in life is particularly moving and just proves that truly Nobody is on Nobody’s Side. It’s a shame to see this cut and for me the new ending falls short.
Some of the lyric changes also feel a little unnecessary. The change from “haven’t you noticed we are a protagonist short?” to “haven’t you noticed we are a lead short?” for example seems as though those adapting felt the audiences would be too silly to understand the original text. Of course this is a small thing and those unfamiliar with the show wouldn't even notice but as a fan of Chess, it feels like there have been needless changes just for the sake of it.
Despite this review being somewhat negative, I genuinely did enjoy Chess. Perhaps it's because the first and only other production I've seen was of such a high standard that this current reincarnation falls flat. If you've never seen Chess before then I think you'll love it. I urge you to see the show regardless of its faults as it's got a beautiful score and a moving story that you can't help but fall in love with.
Chess runs at the London Coliseum until June 2nd.
photo credit: Brinkhoff Mögenberg
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