Theatre – Page 7 – Dance Direct Blog. News, Reviews & Advice About Dance

The Bodyguard Extends Its Run!

The Bodyguard Musical The Bodyguard, hit West End musical based on the iconic film, has recently recently released another 300,000 tickets in an announcement that it is extending its triumphant run until August 2014. Fans can now enjoy Thea Sharrock’s hit production for even longer, based on Lawrence Kasdan’s 1992 Oscar nominated Warner Bros. Film.

Former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. In the romantic thriller, The Bodyguard features a whole host of Whitney Houston classics including Queen of the Night, One Moment in Time, Saving All My Love, I’m Your Baby Tonight, Run to You, I Have Nothing, I Wanna Dance With Somebody and I Will Always Love You.

In September soul queen Beverley Knight joined the production as Rachel Marron to rave reviews alongside Tristan Gemmill as Frank Farmer, meaning The Bodyguard has already had an exciting year. As well as Knight (Rachel Marron), Gemmill (Frank Farmer) and Debbie Kurup (Nicki Marron), the current cast also features Richard Lloyd King (Bill Devaney), Stephen Marcus (Tony), Dominic Taylor (Sy Spector), Michael Rouse (Stalker) and Stuart Reid (Ray Court).

In October a special gala performance welcomed the new cast and was attended by many VIP Guests including Matt Cardle, Mel C, Sophie Ellis-Bextor, Emeli Sandé and Joss Stone. Earlier in November the musical celebrated its first birthday at the Adelphi Theatre in the capital, celebrating by having Kurup, at the end of the performance, asking the audience to join in celebrating this milestone as a specially commissioned birthday cake was brought out on to the stage. The cast then treated the audience to their own rendition of “Happy Birthday”. Kurup has played Nicki Marron in the production since its world premiere in December 2012.

New West End Shows Courtesy Of Bill Kenwright Ltd

The producing company Bill Kenwright Limited is planning to bring around 10 shows into the West End in 2014, under the guise of new producer Jeremy Meadow. His roster of shows which he is set to transfer to the capital will follow the opening of Twelve Angry Men at the Garrick Theatre. Also planned by Bill Kenwright Limited is the revival of French farce Chin-Chin with Simon Callow and Felicity Kendal and The Butterfly Lion by Michael Morpurgo, which are both currently on tour, and the two classics Oleanna by David Mamet and JB Priestly’s Dangerous Corner also set for revival.

Meadow has said that theatre availability would dictate which of the 10 shows made it into the West End; it seems there will be some definite transfers, despite the fact there are not definite houses for them. There are also shows that are also possible for 2014, but still in development. The company is also looking for a venue to house the stage adaptation of horror film Let the Right One In, following its run at London’s Royal Court Theatre this Christmas, in addition to trying to secure a West End transfer for Foxfinder, which premiered at the Finborough Theatre in 2011

For Bill Kenwright Limited, there are also a number of musicals for which it hopes to find a London home. It will be launching a tour of Fame in February with plans for a West End transfer, while it is also trying to transfer Regent’s Park Open Air Theatre’s production of The Sound of Music to an indoor venue. There is a possibility that its touring production of Evita, starring Marti Pellow and Madalena Alberto, could transfer into the West End, while there are hopes that the touring production of Cabaret, starring Will Young, could also return to London.

Ticketmaster Research

Recent research commissioned by Ticketmaster has revealed that a higher proportion of people went to the theatre last year than attended a music concert or sporting event, with teenagers saying they are more likely to go than older people. Going against teenage stereotypes, the research also goes against theatrical stereotypes in which audiences are middle-class and middle-aged, with the most likely age group to say they will attend the theatre is 16 to 19 year olds, with 45 to 54 year olds least likely to attend.

The younger and less affluent customer base for theatre tickets has surprised Ticketmaster, however it is ironic to note the ticket prices to West End shows in particular are extortionate, and not reflective of the general budget of teenage fans. With some musicals charging well over £100 per seat, it is questionable as to how teenage audiences can afford to attend the theatre often. However, the survey did reveal that 87% of 16 to 19 year olds said they were likely to see something at a theatre, compared with 66% of 45 to 54 year olds. It is clear that the targeting of younger audiences by theatres is beginning to pay off.

The report also throws up interesting attitudes towards behaviour in the theatre, with 13% thinking it acceptable to whisper and 80% admitting to doing so. Meanwhile, 10% thought it acceptable to take a photograph, 8% thought it acceptable to check your phone which was less than the figure for eating (17%). Nearly one in four tweet about what they have seen or are about to see, which rises to 47% among 16 to 19 year olds.

Finally, the report suggested that the best-known show is Phantom of the Opera, with 94% of people showing awareness, compared with Once the Musical, which was under 30%.

Extension To Charlie And The Chocolate Factory

As perhaps the most sugar-filled delight of London’s West End, the reasonably new production of Charlie And The Chocolate Factory has recently announced that it will continue to run at the Theatre Royal Drury Lane until November 2014. The extension to this mouth-watering musical will come as great news to many theatregoers who will have even more chance to see this production of one of Roald Dahl’s greatest tales.

Sam Mendes’s production of the Willy Wonka classic has been running at the Theatre Royal since May 2013. It tells the tale of a young boy, Charlie Bucket, who discovers a golden ticket and consequently wins the chance to peek inside an ambiguous and intriguing chocolate factory along with a group of other children. Dahl’s much-loved tale, and now the musical too, is a delectable mix of spectacular visuals and comical moments of the other owners of the hugely sought after golden tickets meeting a sticky end, leaving Charlie as the winner.

The production has now welcomed almost 300,000 audience members and the extension of the run now means that there are now 400,000 more golden tickets available for the hit production. Full of Oompa-Loompas, dancing squirrels and mouth-watering treats, Charlie And The Chocolate Factory has delighted many audiences and will continue to do so in this slick and delicious take of the tale, and retaining Dahl’s magic touches and wicked humour.

The show has since released an official cast album featuring each of the musical’s tracks, from Must Be Believed To Be Seen to Pure Imagination, allowing audiences to take home the sounds of Wonka’s fantastical world of delights. This features the show’s stars such as Olivier Award winner Douglas Hodge as the mysterious chocolate factory owner, Nigel Planer, Clive Carter, Jasna Ivir, Paul J Medford, Iris Roberts, Billy Boyle, Alex Clatworthy, Roni Page, Myra Sands and Jack Shalloo.

UK Theatre Awards Nominees

The shortlist of nominees for the UK Theatre Awards were recently announced on 3 October, the annual awards ceremony that is run by UK-wide body the Theatrical Management Association. There are many productions yet to grace the UK’s stages which could contend for the short list and then the awards themselves.

Productions already in process in theatre up and down the country are also in the running, including National Theatre of Scotland’s stage adaptation of cult vampire movie Let The Right One In and Tom Wells’ Jumpers For Goalposts, which play at the Royal Court and Bush theatres this winter for Best Design and Best New Play respectively. Sheffield Theatre’s new production of The Full Monty, which opens at London’s Noël Coward theatre in the spring, is also up for a prize celebrating the best UK theatre has to offer, in the Best Touring Production category.

Shows that have already wowed London audiences, including My Perfect Mind (Young Vic), Glasgow Girls (Theatre Royal Stratford East), The Butterfly Lion, Mister Holgado (both Unicorn theatre), Rutherford & Son (St James theatre) Deca Dance and The Great Gatsby (both Sadler’s Wells), are also in the running to take home prizes.

The nominees for one final category are yet to be announced, with voting closing last week. The My Theatre Matters! UK’s Most Welcoming Theatre Award is being voted for by the public via the Classic FM website with audiences supporting their favourite theatre before the shortlist is announced. The winners will be announced at an exclusive lunchtime ceremony held at the Guildhall on Sunday 20 October.

It consequently appears to have been a year of great achievement for theatre throughout the UK, demonstrated by the range of nominations celebrating both on and off-stage skill.

The Olivier Awards 2014

2014 Olivier Awards The Olivier Awards, the iconic award event which took place earlier this year, is due to take place on Sunday 13 April 2014 with MasterCard. The coveted statuettes – as well as one new award – will be awarded to the very best productions, performers and creatives in London’s Theatreland. Many may argue that the UK’s capital is the best in the world in terms of theatre, but with New York’s Broadway as a prime contender it’s a close call!

The Olivier Awards ceremony is the most highly anticipated event in London’s theatre awards calendar. In 2014 the event will be held again in the iconic Royal Opera House for the third year running. It was announced than the 2014 Olivier Awards will see the introduction of a new award category, Outstanding Achievement In Music, in which the composition of original music for plays, orchestration, and musical supervision/direction will be recognised.

With the Awards taking place earlier in the year than 2013, the 2014 ceremony enables shows opening up to 25 February to be eligible for one of the prizes. Other information about the 2014 Olivier Awards will be revealed early in the new year, however it is hoped that the 2014 event will still contain performances, loyalty and celebration.

In 2013 each musical which was nominated for the Best New Musical Award put on a show-stopping performance to support their nomination for the star-studded award. Other highlights from the 2013 event of particular noted were performances by former Wicked star Idina Menzel and her Glee co-star Matthew Morrison, guest appearances from current West End stars Daniel Radcliffe and Kim Cattrall and the free Covent Garden Piazza extension of celebration.

The King’s Head Theatre Vs. Russian law

The Kings Head Theatre What with funding news, openings of shows, closing shows, pay and tragic passings of life, theatre is never far from reported news. In a more political stance, the King’s Head Theatre in Islington has responded to Russia’s anti-gay laws in a reaction to the escalating violence and oppression towards gay Russians after Putin’s anti-gay legislation and the current high-profile debate over the Sochi 2014 Olympics.

Many aspects of theatreland have spread into the political and social spectrum, making their views known either directly or indirectly. For the King’s Head Theatre this will be the first verbatim account in response to Putin. In order to do this the King’s Head Theatre has commissioned a rapid-response protest piece to help raise the public’s perspective of the situation as a humanitarian issue that needs to be urgently addressed. Gay activist Russians have been viciously attacked and prosecuted for “spreading homosexual propaganda”, homophobic murders are on the increase and gay parents are fleeing their homeland for fear of having their children taken away from them, the new laws affecting individuals across the board.

Sochi 2014 provides an invaluable opportunity to focus on Russia’s attitude towards lesbian, gay, bisexual and transgender people. These voices will be heard on stage for the first time to make a stand for those who endure oppression on a daily basis, and raise important questions, such as what will other countries do about this dated and incomprehensible attitude, and what will happen if we do nothing.

Behind Sochi 2014 is playwright Tess Berry-Hart who is an experienced verbatim theatre writer, using Russians’ stories to increase public awareness in the UK. The piece will be interspersed with media coverage, debate over solutions and extracts from the Olympic charter which show the flagrant violations of the Olympic spirit by Putin’s regime, harnessing the power of theatre as a political vehicle to demand change.

Image courtesy of Wikimedia Commons.

The Parallel World Of Musical Theatre

Theatre Tickets Whilst the musical theatre sector of the performing arts industry is by no means its ultimate defining feature, it arguably contains as many strong messages about society as contemporary dance, for example, commenting on the reality of today and issues that weave themselves through life. To take a few examples, many musical theatre productions emit a statement in its own right.

Rent the musical is a social statement, a group of friends living in the East Village of New York City, discovering the beauty of falling in love, finding your voice and living for the day under the shadow of HIV/AIDS. Rent has won the Tony Award for Best Musical and the Pulitzer Prize for Drama, a pop cultural musical phenomenon which explicitly explores the tragic illness first-hand and the consequences involved for all.

In terms of politics, the recently opened The Sound of Music at the Regents Park Open Air Theatre tells the story of a nun-turned-governess and seven children dancing and singing through the Second World War in Nazi Germany. When the Nazis put pressure on the children’s father, Captain Von Trapp, to join the political party, there is a narrow escape to the neutral Austria over the mountains.

West Side Story is arguably the most iconic musical of the twentieth century, led by its narrative; it’s timeless message still applicable to audiences today in its depiction of racial prejudice and social division. The tragic tale of corruption and violence has echoes of the twenty-first century, with gangs fighting to remain on top in the face of life itself. Hairspray echoes these racial divides in 1960s America, with a small girl and her big voice fighting to ascend the struggles and become a star on a previously segregated TV show.

With other statements, such as the religious from the cult phenomenon The Book of Mormon and the political during the French Revolution for Les Misérables, musical theatre has much to answer for in the provision of meaningful entertainment.

In Conversation With Lucy Jane Adcock: The West End’s Sweetheart

Lucy Jane Adcock - Top Hat

Lucy Jane Adcock is an incredibly talented and accomplished musical theatre star-in-the-making. She is currently performing in A Chorus Line at the London Palladium and understudies Scarlett Strallen, who plays the lead Cassie. Lucy Jane has also performed in other musicals such as Chicago, Fame, Starlight Express and Beauty and the Beast, giving her a huge repertory of exciting and inspiring jobs.

Coincidentally Lucy Jane met her husband, Jon Cooper, on the Starlight Express tour – he works as a bass player and was working in the Starlight band when the performing pair met.

Having trained at Laine Theatre Arts, Lucy Jane’s dance beginning is never far from her mind, reminding herself of the gift she has to give to audiences and how far she has come to achieve so much on stage. Here Lucy Jane shares a few words on her training, jobs and belief in what she does so well…

When did you begin dancing, and why?

I started dancing when I was 3 at Caren Lumsdale’s School of Dance in South Shields. It was actually because of my babysitter at the time. She mentioned to my parents about the school so off I went with tap shoes in hand. Unfortunately I was the most unconfident, uncoordinated child ever and I’m sure I was a bit of a nightmare for Caren at times. The only thing I did have was determination and willpower, which luckily helped me stick it out until I improved!

What were your early years of dancing and training like?

I only trained in tap for the first few years until I was about 7. I think that’s why tap still remains one of my absolute favourite styles of dance to perform and to watch. I was quite late starting my ballet training which I always regret because I’ve always struggled with my technique! Luckily it hasn’t really stopped me! I progressed with the Lumsdale’s and competed in lots of competitions and festivals, and as the years went on I realised how much I LOVED performing and the thought of actually making a living doing what I loved was very attractive!

How long have you been performing? Did you start young?

I’ve been performing for many years but professionally performing since 2002. I had my first taste of professional work whilst training. I was ensemble in two pantomimes in 2000 and 2001. I was lucky enough to leave college and go straight into the national tour of Disney’s Beauty and the Beast as a Silly Girl. I can’t even begin to tell you how amazing this experience was… It still remains one of my all time favourite jobs! I couldn’t believe I was getting paid for it! How naive!! Since finishing the tour I have been very, very fortunate to have performed in many West End and touring shows.

Where did you train and what was a typical day like?

I trained at Laine Theatre Arts, an amazing college in Epsom, Surrey. I remember starting there in 1999 and thinking, this is where I belong! It was a very hard three years but excellent preparation for a career in this business. I think if you haven’t got the stamina, strength and thick skin to get through three years of training then that proves that you haven’t got what it takes! A typical day would be maybe an hour and a half of ballet, followed closely by an hour and a half of jazz, then maybe a small lunch break (if I wasn’t sneaking into another jazz class!),a singing/drama lesson in the afternoon followed by a musical theatre class and there was always something going on after college, a rehearsal for something or performance classes. College would start at 8.30 in the morning and I wouldn’t normally get home until 6 or 7 at night!

But like I said great preparation as there have been times over the years when I’ve had to ‘double up’ on jobs which would mean rehearsing for one show during the day and performing another show at night… Hardcore!

What is a typical day like now?

To be honest every day is different for me. If I take a typical week at A Chorus Line, I often teach or take workshops, so every now and then my days are taken up with this, otherwise if I have a ‘rest’ day, I will walk my dog, maybe go for a small run. It is sometimes on these days that I will maybe have a sports massage or see the osteopath. I have to think a lot about what to eat during the day and what time so that I will have enough energy for the show especially if I am on for my understudy, Cassie! It is the hardest role I have ever played!

Do you still take classes? How do you keep on top of our technique?

I don’t tend to take classes to be honest. Doing a show like A Chorus Line is enough for me. We do quite an intense warm up before each show which helps me keep on top of things. I also teach a lot of jazz classes so this helps too.

I’ve been very lucky over the years to go from show to show so this has kept me fit and at the top of my game. It is very important in my opinion to keep your fitness levels up so if I do have a short break from working I would tend to work-out or run and keep myself looking good for the next lot of auditions!

What’s the best part of performing in the west end?

There are so many amazing reasons why I love working in the West End… The first has to be that it was my absolute lifetime ambition to be working on a West End stage and any day that I feel a bit tired or under the weather I remind myself of this and how many other people would kill to be in my position. Too many people these days take this for granted and I get very annoyed at lazy people with no passion! I feel very lucky to still have this love of what I do after 11 years in the business because obviously it’s not all highs..! I get such a buzz when I’m performing… It’s like a drug for me and I see myself doing it forever. In A Chorus Line, the director Zach asks us, the characters, what we will do when we can’t dance anymore. He’s asked us that question every night for seven months and I still don’t know what I will do. I tell students that I teach that this is the best way to be. When you’re training if you have something ‘to fall back on’ you will tend to ‘fall back’.

Another reason I love working in the West End is the people I get to meet and work with. My rehearsal period for A Chorus Line was just amazing, working with Bob Avian and Baayork Lee. I’ve worked with Stephen Mear and Bill Deamer too and its just so inspiring working with choreographers with such passion, not to mention all of the people I have learnt so much from over the years. I also did a short tour with musical theatre legend Ruthie Henshall who I have always admired. When I did Chicago in the West End it was like a master class for me watching people like Linzi Hately and Leigh Zimmerman.

Which part of A Chorus Line do you enjoy most?

Like I mentioned already I LOVED the rehearsal period of A Chorus Line. I’ve never known anything like it. It was very intense starting with an hour’s boot camp every morning but there wasn’t a day that the whole cast weren’t in tears (of joy!) it was so special and the show is so drenched in history; hearing original stories from Bob and Baayork was so emotional.

Performing this show has been out of this world. My favourite part to play is Cassie of course! I understudy Scarlett Strallen who plays the role, and it is by far the best role I have ever had chance to play. I get to act, sing and dance on my own on the London Palladium stage with John Partridge (who I adore!) – I’m a very lucky girl!

What advice would you give to someone aspiring to be part of the musical theatre world?

There is so much I would want to say to someone aspiring to be in this business. The first would be exactly what Miss Laine said to me at my audition for Laine Theatre Arts. If there is even a shred of doubt in your mind as to whether you want to do this for a living then leave now. This business requires 100 percent dedication and you end up sacrificing a lot over the years to get to where you want to be. If you’re not prepared to give that then there are 1000 other people waiting in the wings!

Try to build a thick skin, there are so many knockbacks and times when you feel like giving up. We are generally very sensitive in this world, it really helps after a bad audition to forget it and move on, obviously easier said than done, but that is a skill I’m still trying to perfect many years on! The final piece of advice I’d give is to always give 100 percent when you are onstage, whether it be a cruise, a pantomime, a summer season, a UK tour or a West End show. Whenever you are performing in front of a paying audience you must remember what you’ve been through to get there and you never know who might be watching. It could be the casting director of your next big job! Too many people get complacent once they’ve been in a job for a few months, I think it’s very important to always remind yourself of why you’re there and how shortlived this career can be. In the song we sing at the end of A Chorus Line, ‘The gift was ours to borrow…’

What is the best part about dance and performing for you?

This is one of the toughest questions. As I explained a little earlier performing is like a drug for me and I am at my happiest and most content in life when I am working hard and doing something that I love. I have mentioned earlier in the interview how fortunate I have been over the years to do some amazing shows but along with luck also comes a lot of hard work and sacrifice. I think knowing how much work has gone into that one moment on stage is another amazing feeling. Sometimes I can’t believe I get paid for what I do! I remember saying when I was at college that Fame was my dream show: I said “I’ll sweep the stage on that show just as long as I’m there!” I was lucky enough to do Fame in 2004 in the West End. So, if you believe in ‘The Secret’ and putting it out into the universe, it definitely worked for me on that one!

What’s next for you?

A Chorus Line will be a very hard show to follow for me. I can’t believe it’s coming to an end so soon. I’m very much hoping that it goes on tour at some point next year as I don’t feel quite ready to give it up yet. Knowing it will tour will make it easier for me to say goodbye to it at the Palladium! I live from month to month really, but all I know is I was put on this earth to perform and I will continue to do so until my body tells me to stop!

Theatre Traditions

The Journal Tyne Theatre The theatre is a world of mystique, intrigue and illusion, serving to delight and entertain its audience with spectacle, no matter how otherworldly. This tradition of theatre is still upheld in many venues and arts spaces across the country and even across the world, but equally much of the previous spectacle has developed to accommodate the twenty first century. Productions have alternative intents, aiming to shock and provoke audiences rather than provide a successful model of theatre which has been proven to work.

Despite many changes, developments and modernisations of the theatre, many of the time-old traditions remain stuck to the people, productions and venues. Superstition and performance ritual is just a small part of theatrical tradition, yet play a meaningful role in much of what is said and occurs without a second thought. Ever wondered why Shakespeare’s Macbeth is referred to as The Scottish Play, and not by its real name in the theatre? Why the Green Room is called just that? Why many dancers are wished good luck through “break a leg”, despite this being the worst thing that could happen to them?

A theatre or performance space is never without a Green Room, a place for the performers to rest, a limbo or sort of purgatory between the dressing rooms and the stage, somewhere to eat or sleep. There are many interpretations as to why this space – which may not even be green – is named as such, with one being that travelling actors would traditionally perform on the village or town green, and stay in the adjoining public house, usually called The Green Rooms.

Another name which has stuck is that of the theatre’s crew, responsible for set changes, scenery construction and other technical tasks which lift the production out of the rehearsal room. It is said that they are so called because traditionally they would be sailors, a ship’s crew, who would work in the theatre in between sea voyages. Despite many changes taking place to theatre over many years, these are just two features which have stuck.

Image courtesy of Wikimedia Commons.