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Follies With Henshall And Baranski

Follies Christine Baranski, Russell Watson and Ruthie Henshall are set to star in a concert production of Stephen Sondheim’s musical Follies at the Royal Albert Hall on 28 April. Directed by Craig Revel Horwood, with choreography by Andrew Wright, the music for the production will be performed by the City of London Philharmonic Orchestra.

The Follies musical, performed in the West End in 1987, reached London after successful stage productions across the US, including in Manhattan, Los Angeles, Michigan, Texas, Washington and Massachusetts. Follies went on to experience a world-wide theatre revival between 2001 and 2013, where it was then performed at the Toulon Opera House in France.

The musical has its historical roots in 19th century Parisian musical theatre. Follies first hit Broadway in 1971 and enjoyed 522 performances across New York. Written by Sondheim, one of America’s most renowned musical theatre composers, Follies benefitted from Sondheim’s huge musical talent. Oscar Hammerstein II became a surrogate mentor to Sondheim, who was rapidly enchanted with musical theatre. The inspiration for Follies came from reading a New York Times article about showgirls from the real-life Ziegfeld Follies and their lives.

A story was created focusing on two ex-showgirls who attend a reunion act for the Weismann Follies. Based on the Ziegfeld Follies, which entertained America in the roaring 20s, the story tells us how showgirls performing in the US became celebrities very quickly. Despite this, fame was fickle, and short-lived for most.

Follies has been just as much a success recently as it was in the 1970s. It has thematic implications for feminism and women’s emancipation, which first struck a chord with the American political classes. The narrative focuses on the culture behind making stars of people overnight, and the fascination with celebrity life. Unsurprisingly, the musical won seven Tony Awards in 1972, including Best Score for Sondheim.

Broadway’s School Of Rock

Andrew Lloyd Webber’s new musical – School of Rock – is set to open on Broadway in December this year, great news for fans of the film of the same name. Based on the 2003 film, the musical will feature songs from it also, in addition to new music by Lloyd Webber. Previously the mogul had spoken about opening the musical on Broadway, rather than in the UK’s because of the more relaxed child performance rules.

In New York a child can be employed as an actor for six months to a year, without enforcing the triple casting rules of the UK: if a show finishes after 10pm a child can only perform eight nights every six weeks. In New York however, the rules governing children are less stringent, permitting child actors to work up to 9 hours a day.

When the show premieres on Broadway, it will mark an important point for composer Lloyd Webber, as his last show to open in New York before London was Jesus Christ Superstar in 1971. With School of Rock his next musical, it will become his first in more than 40 years to open on Broadway ahead of the West End. While the UK is Lloyd Webber’s home, opening in Broadway would be significant – School of Rock is an American story, so to open in the iconic city would pay homage to this.

The story of School of Rock is much about how music can empower children to take control and to achieve something huge. Like the UK, there are an abundance of talented musical theatre child performers in the US. It has been stated that casting for the show will begin in the US in January for the show to open the following winter.

Image courtesy of Wikimedia Commons.

Theatre… Or Real Life?

The Journal Tyne Theatre Theatre is renowned for providing an escape from the mundane everyday, by transporting audiences into a story which is nothing like their own. Stories of theatre can contain anything from the sublime to the ridiculous, but either way they are travel machines away from the world outside the theatre door. For much of the time, theatre creates an illusion for its audiences in which what is performed on stage becomes real in the minds of the audience.

Even if what is portrayed on stage is based on a true story or real events, the very essence of theatre usually means that the audience are transported there too, as they are taken on a journey by the actors. What happens when the action on stage is depicting something that did once happen? The theatrical ‘suspension of disbelief’ by the audience is no longer required, as they are educated in their seats about something very real.

Current West End productions in the capital include an array of narratives: those at the fantasy end of the spectrum, such as Wicked, Cats and Charlie and the Chocolate Factory, the middle ground including The Lion King, Miss Saigon and Les Misérables, and the far end of the scale, where little fiction is added to the events which are portrayed. The Scottsboro Boys, for example, tells the story of nine black men and how they were wrongly accused of raping two white women on a train, something which is still very raw.

Other musicals which also tell stories of real events include Jersey Boys and Sunny Afternoon, about musical bands, in addition to Made In Dagenham and Stephen Ward which tell stories of strength and scandal respectively. It is interesting to consider if productions of this type have a particular effect on audiences, and how their response differs following the viewing a production of this kind.

Image courtesy of Wikimedia Commons.

Pantomime Presents…

Pantomime has received a facelift in recent years, a “rags to riches” transformation. The 80s and 90s saw a gradual decline in quality, and pantomime was regarded as a cheap entertainment option with some glitter to cover the cracks. Some of regional repertories and smaller companies kept the magic alive and reinvigorated it, however audiences began to demand better and slowly pantomime began to improve.

Pantomime is best when created with love and care, each made with a personal, relative method for the audience to connect to. Each production is particular to each audience in each town the pantomime plays in. The more personal the connection the better, so jokes and references are included that only the audience would relate to. The script ultimately pulls the strings of the pantomime together.

Before everything begins, sets, costumes and props are stored away from the previous year’s production and the work begins for the following year. The ‘big name’ is the first essential part of the pantomime, with their name being the attraction to most pantomime audiences. The star must bring a little bit extra that ensures that they can create a special kind of magic that connects with adults and children alike.

Keeping the writing fresh is important, followed by photo shoots, set building, music composition and then casting. Another key member of the team is the dame, which differs greatly between producing companies. For pantomime there must be pretence without pretence: everyone is ‘in’ on the joke but doesn’t give it away. Pantomime is a lot about illusion with no illusion: there is magic but the magic must be transparently human.

From there the rehearsals begin, set is built, sequins are sewed, and there are orchestra calls, choreography sessions, marketing and publicity, front of house dressing, all until the show begins!

Image courtesy of Wikimedia Commons.

A New Recruit For Cats?

Cats The Musical It has been rumoured that West End star Kerry Ellis is set to take over the role of Grizabella from pop princess Nicole Scherzinger in Cats at the London Palladium in 2015, a huge theatrical coup for musical theatre fans. Scherzinger has previously received mixed reactions from musical theatre-goers however for many, the most important aspect of the news is that Cats will most likely be extending further than it’s previously advertised 12 week run.

Ellis, best known for starring in Wicked in the West End and on Broadway, will play Grizabella from 9 February, according to the Daily Mail newspaper. Ellis trained at Laine Theatre Arts in Surrey and has a firm place in the group of Laine’s successful alumni.

Cats the musical, which has returned to the West End after a 12 year period, opened to rave reviews at the Palladium in December, and is currently booking to 27 February 2015, although an extension is likely. The cast and creatives have been praised for the revival of the timeless production, with undefeated choreography from Dame Gillian Lynne who continues to surprise at nearly 90 years old.

For Ellis it was after appearing as one of Martine McCutcheon’s understudies in My Fair Lady that her breakthrough role came in 2002: she played Meat in the premiere of the Queen musical We Will Rock You at the Dominion Theatre to great acclaim. Her other credits include Wicked (for which she has won awards such as the 2008 WhatsOnStage Award for Best Takeover in a Role), Oliver!, Miss Saigon, Les Miserables and Rent, earning her a firm place in the line up of iconic musical theatre artists.

Gypsy In The West End

Gypsy - Imelda Staunton It has been revealed that Imelda Staunton will reprise her role as the iconic Momma Rose in Chichester Festival Theatre’s hit production of Gypsy when it transfers to the West End for a strictly limited season in spring 2015. This will be the first London production of Stephen Sondheim’s much-loved musical for more than 40 years, playing at the Savoy Theatre from 28 March.

Gypsy is often cited as one of Broadway’s greatest ever musicals: the rarely staged piece tells the true story of the ultimate showbiz mother Momma Rose who took her daughters Baby June and Louise across America in search of fame and fortune with their homespun vaudeville act. Momma Rose is forced to accept the demise of vaudeville and the rise of burlesque, as well as her daughters’ quest for freedom and individuality.

The musical features a book by West Side Story’s Arthur Laurents, music by Jule Styne and lyrics by Sondheim. It was inspired by the memoirs of the real-life Louise, Gypsy Rose Lee, and boasts a classic score of hits including Everything’s Coming Up Roses, Small World, Let Me Entertain You and Together (Wherever We Go).

Imelda Staunton is often referred to as one of Britain’s best-loved performers. Her credits on stage include Guys And Dolls, A Chorus Of Disapproval and Life X 3 at the National Theatre, Entertaining Mr Sloane at the Trafalgar Studios and A Delicate Balance at the Almeida. She is also a household name for her screen appearances, as Staunton has starred in films including Pride, the Harry Potter series, Maleficent, Vera Drake and The Awakening.

Further casting as to who will join Staunton in the West End transfer is yet to be announced. The production will follow Dirty Rotten Scoundrels into the Savoy Theatre, which ends it run on 7 March 2015.

Frantic Assembly’s Othello

In a co-production with Theatre Royal Plymouth, Frantic Assembly’s explosive Othello will hit the Lyric Hammersmith in the capital from 13 January 2015 following a successful UK tour. The company are said to have radically transformed the Shakespearian classic with its high energy choreography and approach to working artistically.

Frantic Assembly’s acclaimed and award-winning Othello is an electrifying take on Shakespeare’s most brutal and gripping thriller-tragedy. Frantic’s Artistic Director Scott Graham has restaged this timeless story of paranoia, jealousy and murder, setting it against the backdrop of Yorkshire during the race riots of 2001, exposing prejudice, danger and fear. Othello is directed by Scott Graham, with design by Laura Hopkins, lighting design by Natasha Chivers, sound design by Gareth Fry, soundtrack by Hybrid and additional choreography by Scott Graham and Eddie Kay.

Frantic Assembly’s celebrated physical style combines movement, design, music and text, and recent production highlights include The Believers and Beautiful Burnout by Bryony Lavery, Dr Dee (Manchester International Festival and ENO), Lovesong by Abi Morgan and Stockholm by Bryony Lavery. Frantic Assembly are also movement directors on The Curious Incident of the Dog in the Night-Time, winner of 7 Olivier Awards, currently running in the West End and on Broadway.

Frantic Assembly was formed in 1994 and since then the company has sought to collaborate on original ideas with today’s most exciting artists. Frantic Assembly has toured widely throughout the UK, building its reputation as one of the country’s most vibrant companies. Internationally Frantic Assembly has performed, created and collaborated in 28 different countries.

In addition to its productions Frantic Assembly operates an extensive Learn & Train programme introducing 6,000 participants a year to the company’s process of creating theatre, in a wide variety of settings. Frantic Assembly also delivers Ignition, an innovative vocational training project for young men aged 16–20 years, particularly targeting those with little previous experience of the arts.

Royal Court And The Guardian Collaboration

The Royal Court theatre and the Guardian newspaper are set to collaborate on a web-based play series. Directors, playwrights and journalists are all headed to collaborate on a new series of short plays, which will be available to watch online. Making these theatrical works more readily available to audiences all over increases the reach of the arts and puts it in greater stead for the long term.

To be named Off the Page, the collaboration between the Royal Court and the Guardian will begin with a piece which sees playwright Laura Wade and director Carrie Cracknell collaborate with food blogger Jack Monroe and Guardian social affairs correspondent Amelia Gentleman. The short play is named Britain Isn’t Eating, and is available on theguardian.com starring Katherine Parkinson and Kyle Soller.

Subsequent short plays will cover topics such as music, fashion, politics, sport and education and are all around five minutes long. They will also feature actors including Rafe Spall and Tobias Menzies, alongside playwrights such as Chloe Moss and Tim Price, and directors including Christopher Haydon and Hamish Pirie. Guardian journalists taking part in the project also include Aditya Chakrabortty and Hadley Freeman.

For the Royal Court’s artistic director Vicky Featherstone, the partnership between the Guardian and Royal Court is truly ground-breaking in its approach to producing theatre, and reflects the strengths and vision of each organisation involved. Playwrights and theatremakers are continuously looking for inspiration and new challenges to feed their work, and for Featherstone this is frequently found in the pages of newspapers.

The collaborations between the Guardian and Royal Court theatre look set to be innovative, entertaining and inspiring with lots feeding in to each short work.

Image courtesy of Wikimedia Commons.

Martin Harvey – Wacky For Wind In The Willows

What better way to celebrate the festive period than with the Royal Opera House’s “The Wind in the Willows” at the Vaudeville Theatre. Martin Harvey joined this year’s production to take on the role of Ratty…

Harvey’s extensive dance career has included numerous principal roles with the Royal Ballet from Mayerling, Onegin and La Fille Mal Gardée, to Manon and Romeo and Juliet. Harvey’s acting credits include his award-winning performance as Johnny Castle in the West End production of Dirty Dancing, as well as multiple roles in New York, including Richard Eyre’s production of Carmen for the Metropolitan Opera, Twyla Tharp’s Come Fly Away and David Michalek’s Portraits in Dramatic Time.

What’s your dance background?

I started dancing at around four years old in a local school and then I went to the Royal Ballet School at the age of 11 where I trained until [I was] 16. I then started in the Royal Ballet Company at 16. That sounds like a lot of ballet but I did most forms of dance, but specialised in ballet.

What was a typical day like?

A typical day included three to four hours of dancing with ballet class, a pas de deux class, and loads of other forms of dance and choreography. It also included four hours of academic work every day. So that was eight hours a day, six days a week. We would also go Morris dancing on a Sunday. You usually had dance homework as well where you would do stretches and practice on your own. Dance cramming, like trying to do the splits until you split.

What’s a typical day like for you now?

So different. I live in Harlem, Manhattan in New York. On a typical day, I get up and spend time with my wife and our Yorkshire Terrier. I then meditate for about 45 minutes to an hour. I do it as part of my warm up as an actor; meditation spills into actor training but I also do general meditation. I then go and take a class at Steps in New York, normally an hour and a half of ballet or something physical. I will then go for an audition or do some voiceover work or a commercial. I then teach a ballet class for students and in the evening, I go to The Pit in New York and either do a three hour drop-in class or an hour and a half comedy improve.

Have you always wanted to be a performer?

I think that’s got to be true. When I was three (I don’t remember this but my Mum has told me) I used to bang on our TV, it was this little black and white TV and I would sit down next to it and bang on it and ask how I would get inside! So clearly I wanted to do something like that!

When did you start performing professionally?

My first professional gig was when I was seven. I played Michael Darling in Peter Pan at the Aldwych Theatre in London with Bonnie Langford. This production went on tour so I was travelling on tour when I was seven with Tinkerbell, The Lost Boys and Bonnie Langford! After that I worked every year until I went to the Royal Ballet School. I would say that acting was my first love before dance but I think that both arrived at the same time and you can’t distinguish between them as they are both necessary to each other.

What are your rehearsals like for Ratty?

Sweaty, detailed, exhausting and hilarious.

What are the best and worst parts of the creative process for you?

The best part of any creative process is the laughter. The worst part is when it’s not creative. When it’s going well and everyone’s laughing it’s brilliant, but when it’s not creative, that’s just it and the issue is it can’t always be creative.

What are you most looking forward to about the performances?

We get to see our audience quite a lot and seeing the kids really enjoy it and watching their parents so excited about the kids’ reactions is brilliant. It’s like a chain reaction and it is so brilliant to watch. For the actor in me, I get to spend two hours living in a fantasy land! I look forward to seeing kids’ faces light up and also I get to be a kid for two hours and be as wacky as Ratty!

What’s the best thing about performing?

That’s the best thing about performing, but the whole reason I do what I do is characters. Even when I am dancing, singing, performing, I am living and seeing through someone else’s eyes. It’s the ultimate escapism. Some people go swimming or running but for me, when I’m performing I’m completely in a moment, completely immersed in fantasy land. Spending time living life through someone else’s eyes.

What’s one thing you would change about the industry?

Omg, do I only get one?!

What is your advice to an aspiring dancer?

If you love it, don’t look back and don’t take no for an answer.

The Hunger Games Is Coming To London

The Hunger Games Stage Show The Hunger Games phenomenon is heading to the London stage. The unique theatrical experience based on the popular young-adult novels and Lionsgate film franchise will launch in summer 2016 in a new purpose-built theatre next to Wembley Stadium in London. The company is partnering with Dutch media company Imagine Nation and US-based Triangular Entertainment, who will use innovative and immersive staging techniques to bring the dystopian story to the stage.

The theatrical experience – as it is being referred to – will be produced by award-winning Broadway producer and Imagine Nation co-founder Robin de Levita, UK promoter Harvey Goldsmith, Triangular Entertainment’s Warren Adams, Brandon Victor Dixon of WalkRunFly Productions and entertainment executives Robert Harris and R&R Media’s Gary Ricci.

De Levita recently created groundbreaking presentations for two Holland stage shows. For the sold-out Dutch musical Soldier of Orange, the audience sits in a 360-degree rotating auditorium that turns from set to set. ANNE, the first authorised play in 55 years based on The Diary of Anne Frank, uses rotating life-size stage sets. As a result it seems de Levita and the rest of the production team are the perfect partners for extending The Hunger Games into a live experience.

Creative genius, world-class production values and state-of-the-art technology will combine to provide a uniquely immersive experience for fans around the world, with a tale that resonates so deeply with global audiences, now for an innovative next-generation studio.

The first two installments of the Hunger Games film franchise have grossed more than $1.5 billion at the worldwide box office. Hunger Games: Mockingjay — Part 1, the first of the two-part final installment, will hit cinemas in late November. The stage show is just the latest extension of Lionsgate’s popular, Jennifer Lawrence-starring story, with the company considering a theme park among other business opportunities.