Matt Wycliffe – Debut Album Campaign

19 Jul

If you are  a theatre fan (and if you are reading you probably are) you will have come across numerous West End performers doing crowd funding campaigns. Several of you might even have support one or more of said campaigns. And if there is one thing we all know it’s that we can’t just spend our money on anything.

That’s why I rarely promote a performer’s crowd funding campaign through this blog. I only ever do it when I am 100% convinced I am promoting something that will be worth my and your money.

Having seen Matt Wycliffe in several shows over the years and having witnesses his impressive skills not only as a singer but also as a musician I feel supporting his album campaign is something all of you should definitely consider.

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He has put together an Indiegogo crowdfunding page with a whole bunch of fun perks. There’s something for everyone: From digital album downloads to physical albums plus bonus EP, tickets for Matt’s new theatrical venture “A Million Dollar Quartet” (there are backstage tours available too), a signed electric guitar and private gigs.

Check out the campaign!

Support by pledging for one of the perks (or more – go spoil yourself!). And please spread the word: Twitter, Facebook, Instagram, tell your friends at school or at work….

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Make sure to keep up to date with all the latest updates by following Matt on Twitter @MattWycliffe .

The Color Purple – Jacobs Theatre, Broadway -25th June 2016

12 Jul

I remember watching the very first preview of The Color Purple at the Menier Chocolate Factory. I remember being excited to see the first public performance of what promised to be a great production. And I remember leaving the theatre slightly underwhelmed. I did not dislike the show back then and I was impressed by Cynthia Erivo’s portrayal of Celie. But I wasn’t amazed by the production either. I figured it just was not my kind of musical and decided I had seen it once now and that would be enough.

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When the production transferred to Broadway I had no intention of watching it. And I kept it at that until that day they announced Jennifer Hudson’s replacement as Shug Avery: Heather Headley. There are a few performers who will make me watch literally anything. Heather is one of them.

And so I found myself in the orchestra (= stalls, for those of you not familiar with Broadway theatre) to see a show I was sure I would find ok but not great. Then the show started and my theatrical heart exploded.

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There was Cynthia Erivo literally laying her soul out for everyone to see. Her Celie is vulnerable but strong, she is fearless and determined – it is impossible to not love her.

Danielle Brooks as Sofia made me laugh and cry – a powerful force on stage.

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And then there was Heather Headley, my reason to revisit the show and the one person I had the highest expectations for. If you are waiting for me to say I was underwhelmed you will be disappointed. Heather Headley’s Shug Avery is sublime. With a voice smooth as velvet Heather commands the stage. She’s feisty and funny and strong and sexy – she just IS Shug Avery.

It’s impossible to find a weak link in the cast. From Isaiah Johnson’s Mister to Kyle Scatliffe’s Harpo, Joaquina Kalukango’s Nettie and everyone in the Ensemble this is pure class on stage.

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I went into this show expecting to love Heather Headley’s performance. I walked out of the theatre having my faith in musical theatre restored. As long as productions like this exist musical theatre is alive. The Color Purple made my heart sing and I am grateful Heather Headley joined this production – not just because she was sensational but also because without her I would never have made the journey to watch this show. And my soul needed a show like The Color Purple – in fact I think every soul can do with a show like this now and then.

The Color Purple is on at the Jacobs Theatre on Broadway. For more info and to book tickets please visit: http://www.colorpurple.com

Fascination Punchdrunk

24 May

I posted the following thoughts on my other blog a couple of months ago. Due to lack of time said other blog has been neglected for ages and will probably vanish in the not too far away future. However, this post is theatre related and I figured I might as well make it a part of my theatre blog. I know most of my readers watch “regular” theatre: Musicals and straight plays. A lot have probably never been to an immersive show. But maybe even those who have had no contact with this form of theatre so far will find the following interesting.

Why do I love Punchdrunk and what do I get out of their shows? I’ve been asked about this several times so I thought I’d try and answer once and for all.

For those who don’t know: Punchdrunk are a British theatre company who specialise in immersive shows. They take over whole buildings and transform them into a huge and insanely detailed set. The masked audience is free to explore the set and follow performers who play out a story throughout the building. Now and then an audience member will get chosen for a very personal one on one performance with a performer and if you are lucky you might even get a walk out at the end of the show – the most personal way to end a Punchdrunk performance. Usually a Punchdrunk show lasts 3 hours in which the characters play out their one hour long  story (called loop) three times. That way the audience has the chance to see several storylines, revisit favourite scenes or watch narratives from different angles.
I got hooked on Punchdrunk through their production The Drowned Man which ran in a former postal sorting office next to Paddington Station for a year. The building had been transformed into the 1960s film studio Temple Studios (including a western town, a desert and so much more), the story was a take on Woycek with references to Nathaniel West’s The Day of the Locust. My current Punchdrunk obsession is Sleep No More in New York which tells the story of Macbeth in a 1930s hotel (The McKittrick) with references to Hitchcock’s Rebecca. I attended The Drowned Man 34 times in just 4 months (I was late to the party, something I will always regret) and have seen Sleep No More 45 times so far.

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The Drowned Man

The number of visits alone is enough to produce raised eyebrows whenever I talk about my love for Punchdrunk shows. Even though I have seen other, regular theatre productions more it is the fact that I will happily watch 10 Punchdrunk performances in a row without ever getting bored. It sounds insane and people keep asking what makes me go back again and again.

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Sleep No More

First of all it’s the quality of performance you get to see when attending a Punchdrunk show. Some of the finest dancers and actors can be found in their productions and watching these guys and girls do what they do best while often standing just a few metres away is breathtaking. The second aspect is the set. Attending a Punchdrunk show is more than just watching a performance. You are transported into another world the minute you enter the building. I used to say going to see The Drowned Man was like visiting my second home. And it really felt like that after a while. When The Drowned Man closed I honestly felt like I had lost my save place – the place I could spend three hours in and forget about the outside world.

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The Hotel Lobby in Sleep No More

I guess that’s one of the main things that attracts me to Punchdrunk. Watching their shows means leaving everything else behind for the time being. It’s like a timeout from regular life. You get to be in a different world and to a certain extend you become someone else too. There is definitely a psychological aspect to it – everyone wants to break out sometime. I don’t consider myself the most outgoing person in real life. I don’t trust people easily. However, in a Punchdrunk show I have no problem putting my trust into a (most of the time) complete stranger. I don’t know most of the performers in the show and yet I’ve let them blindfold me, take me into pitch black rooms, force feed me oranges (don’t ask) and I’ve drunk whatever they have handed me without asking what exactly I was about to swallow. It’s the strange thing a Punchdrunk show will do to me. I become obedient in a way but it also sets me free. No worries, no second thoughts, no pondering if doing this or that is a good idea or not. In a Punchdrunk show I can just BE. It’s like walking around in a dream and it gives me goosebumps every single time. The thrill cannot be described, it has to be experienced.

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The desert in The Drowned Man

The Drowned Man probably described it best in one of its most used quotes: “We live inside a dream.” This is exactly what Punchdrunk shows are for me. The chance to live in another reality, if only for a few hours. And who doesn’t want that now and then.

You can find out about Punchdrunk’s latest ventures here.
And if you are ever in New York I urge you to check into The McKittrick for an evening.

She loves me at Studio 54 / New York – 16th April 2016

13 May

I love old-fashioned American musicals. They have a certain charm you hardly find in shows these days. She loves me is such an old fashioned American musical. Currently being revived on Broadway the show is based on a play by Miklos Laszlo which inspired the 1940s movie “The Shop Around the Corner”.

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While the show is predictable and corners on the cheesy side all the way through it’s enchanting nonetheless thanks to an absolutely stellar cast. Zachary Levi is a dream to watch. Add the wonderful Laura Benanti and you have a match guaranteed to dazzle the audience. Jane Krakowski once again proves that she is not only a strong actress but also has comic timing down to a tee. Then there’s Gavin Creel who doesn’t get as much stage time as I would have liked but when he is on stage he owns it, simple as that.

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This show doesn’t shine with big showy numbers. There’s no big, flashy ensemble. Instead every one of the principles gets a moment to really shine.

This is one of those shows that won’t impress you with its outer appearance although the set is beautiful and caused applause on several occasions. She loves me will win you over with its simple but irresistible charm.

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I think one of the main reasons this show just works is the fact that we all can relate with one or more of the characters. They are not perfect and they struggle. But of course we know from that start that a happy ending is on the cards. And that’s exactly what you want when you are watching a musical comedy. Leave the tough stories for another day – today we want pure musical bliss.

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She loves me is playing at Studio 54. For more info and to book tickets visit http://www.roundabouttheatre.org/Shows-Events/She-Loves-Me.aspx

 

 

Miss Atomic Bomb at St. James Theatre – 12th March 2016

14 Mar

I usually don’t review a preview. On this occasion I will make an exception but I will concentrate on all the positive aspects of the show because I feel that those bits that appeared a bit flawed just need a bit more time to be ironed out.

Miss Atomic Bomb is a musical comedy set in 1950s Las Vegas centering around the vast amount of nuclear tests that took place in the Nevada desert around that time. In an attempt to profit from the always present atomic blasts (and threatened at gun point) Lou Lubowitz sets up a beauty contest to find Miss Atomic Bomb.

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At the center of the story we find Candy Johnson (Florence Andrews), a (sheep) farm girl desperate to raise funds to settle her late grandmother’s debt. She runs into Joey Lubowitz (Dean John-Wilson) who has just deserted the army after witnessing the horrific power of the atomic bomb. In an attempt to escape he flees to Las Vegas where his brother Lou Lubowith (Simon Lipkin) has just been appointed general manager of the Golden Goose Hotel. Due to extraordinary circumstances Lou and Joey set up the Miss Atomic Bomb beauty contest which might just be Candy’s only chance to escape the grip of the bank – represented by Mr. Potts (Daniel Boys) – that is threatening to repossess the trailer her grandmother left her.

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There is no denying that Miss Atomic Bomb has huge potential. The show has a great score and some wonderful comedy moments. And while the story is predictable it manages to keep the audience entertained nonetheless. Add a talented cast and you have an enjoyable evening at the theatre. Simon Lipkin shines as Lou Lubowitz and his duet with Catherine Tate in act two (Sugar Daddy) is a true showstopper. Catherine Tate has been praised for her comic timing before and she doesn’t disappoint here. Dean John-Wilson is perfectly cast as Joey Lubowitz – the romantic hero who also gets the chance to show off his funny side. He has great on stage chemistry with Florence Andrews who delivers a stand out performance as Candy Johnson. A special mention has to go to Stephane Anelli who is not only hilariously funny as Professor Alvin Schmul but also once again shows that he is a hugely talented dancer and singer. David Birrell has joined the cast on short notice to star as General Westcott / Mr. Rosenhunt and does a great job.

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It is obvious how much effort has been put into this new musical and the result is a light-hearted show that doesn’t take itself too seriously. Miss Atomic Bomb is proof that new original musicals can be innovative, entertaining, funny, clever and catchy all in one and so appeal to a broader audience.

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Here’s hoping this show gets the chance to be seen by a wide range of people not just during its short run at the St. James theatre.

Miss Atomic Bomb is playing at the St. James Theatre until 9th April 2016. For more info and to book tickets click here.

10 Questions with Joe Aaron Reid

25 Feb

Joe Aaron Reid is currently making his London theatre debut starring as Benny in In The Heights at King’s Cross Theatre. His theatre credits include If/Then (Scott/ Stephen opposite Idina Menzel, Broadway); Ghost – the Musical (Broadway); Catch Me if You Can (Broadway); Finian’s Rainbow (Broadway); Chicago (Fred Casely, Broadway) and Curtains (Ronnie Driscoll, Broadway); Once on This Island (Daniel, Lucille Lortel); The Tin Pan Alley Rag (Roundabout/Laura Pels); Finian’s Rainbow (Encores); Why We Tell the Story (Lucille Lortel); Kismet (Encores); Lines (Joe, TBG); On the Town (Gabey, 5th Avenue Theatre); A Funny Thing Happened on the Way to the Forum (Gymnasia, Williamstown Theatre Festival); Ragtime (Paper Mill Playhouse); Cats (Munkustrap, Northern Stage); Camelot (North Shore Music Theatre, Boston); Beauty and the Beast (Les Places des Arts, Montreal, and Lyric, Baltimore); If/Then (National, Washington DC); Curtains (Ahmanson); Guys and Dolls (MIMF, Macau, China) and Kiss Me, Kate (Paul, Commonwealth Shakespeare Company).

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Joe kindly took some time out of his busy schedule to talk about moving across the pond, living in London, being part of In The Heights and what the future might hold.

You moved to London in March after living and working in New York for years. What made you take such a huge step and is London starting to feel like home now?
I moved to London at the end of March, after closing If/Then on Broadway. We actually moved because of my husband’s job. He works in finance, where it’s actually quite common to move overseas. He is French, so for him it was coming home in a way. I agreed to move because I was living in NYC for 10 years, and although acting is a huge part of my life, adventure is a bigger part. I figured I could do what I love here, and be on a great adventure with my family at the same time. We’ll be back at some point, but for now, I’m happy. We’ve now been here for almost a year, and I enjoy it, but it takes time to feel like you’re at home. I’ll get there soon, I’m sure.

Can you name three things you love about London and three things you dislike?
Three things I love:
1. They are big on Haloumi. I had never heard of it until I moved here. It’s DELICIOUS.
2. The tube is super clean, and there seem to be trains about every 2-3minutes.
3. The architecture. The mixture of such historical buildings with modern skyscrapers is really cool. I love to walk along the Thames and see the juxtaposition between buildings like Big Ben and Parliament vs. the London Eye, and the Shard.

Three things I dislike:
1. The city is very spread out, so it takes quite a long time to get places. That being said, you feel like you are breathing fresh air, most of the time.
2. This is a gross generalization, but…customer service is different over here. I’ve said this before, but in the US, “the customer is always right”. Here, they treat you as if they are doing you a favor, even though you are paying for a service.
3. London is more expensive than NYC. Not. Cool.

Have you had the chance to check out the London theatre scene?
I have been able to see some things. I was able to see Gypsy, in which Imelda Staunton SLAYED! I saw The Curious Incident… and absolutely loved it. Some amazing performances in Miss Saigon!! I’ve seen a couple of other things, as well. Some new and smaller things, and some old staples.

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In The Heights

 

In The Heights marks your first appearance on a London stage. I’ve seen the show several times and the one thing that always gets me is the energy on stage. Everyone seems to put their heart and soul into this production. What’s it like to be a part of In The Heights and are you happy to make your London stage debut in this Show?
YES and YES! The show is so vibrant, and everyone gives it everything they have. What’s funny, is that I wasn’t supposed to be doing In The Heights. I was slated to do Stardust Road at the St. James, but it unfortunately was cancelled. It just so happened that they were in final callbacks for In The Heights, and they agreed to see me. I feel like everything happens for a reason, and I was meant to be doing this show at this point in my life.

This is a question I’ve been asking myself over and over again: Where did Victoria Hamilton-Barritt get her energy from (performing 7 months pregnant)?
I have no clue!!! It’s mindboggling!! I just met her through this process, and so I have only known her pregnant. I can only imagine her force when she’s just eating for one.:)

What is your favourite song or scene in the show and why?
Oooooh, That’s a tough one. I like different songs/scenes for different reasons. So, I’ll give you a few that I love. I love the scene into “Benny’s Dispatch”. So much of my show is dramatic, so I enjoy starting off the show being goofy and playful. I love singing “When You’re Home”. Hearing Lily sing “Breathe”. If I stand in the right position backstage, I can see “Carnival” and I love watching everyone throwdown for that one. It’s such a powerful moment. The list goes on…

I saw In the Heights on Broadway in 2009 and while I liked it I didn’t love it as much as this production. I feel it works better in a smaller space where the audience has the chance to really connect with the characters and story. Do you enjoy performing in such an intimate venue?
I do enjoy it. Most of my past experiences have been in large houses on Broadway, with the traditional proscenium. This traverse stage and smaller house allows you to play more with nuance, because the audience is so close. Now that we’ve been running a while, I’m finding myself discovering new things almost weekly, about the sound, the sightlines, and Benny in general. I imagine playing Benny would be very different on a proscenium. Also, the audience is basically in your lap…or maybe it’s the other way around. When you have a supercharged audience, the energy is truly palpable. You don’t get that in a traditional venue in quite the same way.

Looking into the future: If you could join any West End production in 2016 which one would it be and why?
Well, I find it a little more gratifying when I am originating something. Five of my six Broadway shows were original casts, and there is a bit more creativity and artistic freedom when originating, versus the “move here and speak here” scenario. NOT poo pooing replacements, though!!! That comes with it’s own set of challenges, like HOW to be creatively fulfilled, while staying within the realm of what is currently happening eight shows a week. I will say, I’m sad to see Miss Saigon go. I really wanted a chance to play John. I wouldn’t mind a Fiyero in Wicked situation. Fingers crossed it’ll be something new though. We shall see.:)

Do you have the ultimate dream role you would love to play at some point in your career?
YES…well of course the obvious answer is it hasn’t been written yet, because IDEALLY, like I stated in the question before, the goal is to originate something, BUT in terms of roles that are already out there…Coalhouse Walker, Jr. in Ragtime. I had the chance to understudy the role at Paper Mill Playhouse, right out of college, but I’ve never actually had the chance to play it. Being a bit older now, and more right for it agewise, I’ve definitely got my eyes peeled for a production of it.

Final question: Why should people come and see In the Heights?
I think people should come see In The Heights because it has something for everyone. I know a lot of people say “rap isn’t my thing”, but as someone who raps in the show and then has multiple ballads, this show is SO MUCH MORE than rap. Traditional musical theatre lovers still get their West Side Story, while people who like contemporary music and musical theatre get more than their fill. If you like dance, it is jampacked with many different styles. If you like sweeping ballads, there are quite a few. If you are young, there are characters you can relate to. If you are older, there are characters you can relate to. The story is relatable, no matter what your background. You laugh, you cry, you party and at the end of the night you feel joy. NOT the cheesy joy, but the heart open, toothy smile joy. If you are human, you will enjoy it.

Follow Joe on Twitter @joeaaronreid and find him on Facebook to get in touch and find out first about the latest news.

Theatreboard.co.uk: The new home of independent theatre discussion

12 Feb Background-with-Logo
The UK now has a new independent online forum to discuss theatre – TheatreBoard.


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Following the recent decision by ist American parent company to discontinue support for the discussion forums originally established by WhatsOnStage.com, a group of dedicated fans have taken on the challenge to create a brand new home for lively and informed discussion about the UK theatre scene and beyond.

 

Once the closure of the old forum was announced at the start of January, many users rapidly got involved suggesting ways forward. Different approaches were considered before the community as a whole put ist support behind a plan to create a new home at http://www.theatreboard.co.uk.

 

A former moderator of the WhatsOnStage.com forum commented: “It was fantastic seeing our online community come together to protect something they valued so much. It was a very democratic process and we are proud to have launched the new site within a matter of weeks”.
A small team of volunteer staff came together to cover the costs and work on the
design and functionality of the new site which already boasts over 500 members and is averaging 17,000 hits a day.

 

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A spokesperson said “We are thrilled to have secured this new online home which we hope will continue to grow and flourish in the years to come. Everyone is welcome – whatever type of theatre they enjoy or how often they manage to see a show”.
TheatreBoard features sections discussing musicals, plays, performers and following member demand, a new area dedicated to opera and dance. Conversations already cover dozens of productions including West End, fringe and touring; alongside topics as diverse as badly behaved audiences to theatre technology and a live chat planned for the upcoming Olivier awards.

 

All year round the UK delivers an exceptional wealth of live theatre in venues ranging in size from over two thousand seats down to the most intimate studio spaces. TheatreBoard aims to support informed, varied and vigorous debate among those who love theatre.

 

 

Ramin Karimloo live at the Union Chapel and Islington Assembly Hall

21 Jan

The last time Ramin Karimloo appeared on a London stage was in October 2012 – more than 3 years ago. Since then he has gone on to become a Broadway star and has performed in venues all over the USA, not to forget appearances in Canada and Japan.

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But despite being away for so long Ramin has never truly left London, the city he still considers to be his home. And on January 19th and 20th 2016 he finally found his way back on stage in his hometown. Two sold out gigs at the Union Chapel and Islington Assembly Hall clearly showed that London had not forgotten about “the Iranian with the banjo”. On both nights the audience was enthusiastic from start to finish.

Ramin has always been a unique talent with a voice of gold. From well-known musical theatre songs like “Till I hear you sing” (Love never dies”) to “Oh what a beautiful morning” (Oklahoma) and “Bring him home” (Les Miserables) – the latter a stunning duet with Hadley Fraser on this occasion – to cover versions of his personal and his own material, Ramin Karimloo doesn’t just sing lyrics and melodies, he embraces them and competely makes them his own. It’s what I call putting your soul into every song.

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Ramin’s unique and personal style which he has named Broadgrass is an amalgamation of Broadway and Bluegrass music and doesn’t just suit his voice perfectly but is clearly something he truly enjoys working on.

Having followed Ramin’s career since 2010 I have always loved hearing him sing his own songs as well as cover versions of his personal favourites. Getting to listen to “Constant Angel” again was just as wonderful as being treated to his take on “Ol’ Man River” and “If it’s the beaches”. But the most wonderful thing was seeing how much he has developed over the years. He is not “just” that guy with the brilliant voice. He is a talented musician and songwriter who loves what he is doing. And on top of that Ramin is still one of the most humble and gracious performers you can imagine. He doesn’t take his supporters for granted and always does everything he can to ensure everyone leaves the venue with a smile on their face.

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A special treat on both evenings was the appearance of Hadley Fraser – Ramin and his “brother from another mother” reunited on the London stage. It doesn’t get much better than this. Everyone who remembered the first Sheytoons gigs back in the days (Dublin Castle, anyone?) couldn’t help but smile all the way through “Driftwood” and “Wings”. Hadley and Ramin together are simply special – the bromance is still strong after all these years.

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Ramin Karimloo is going from strength to strength. His star is shining brightly these days but no matter where his career takes him next I hope he will always return home. London needs the Iranian and his banjo.

For all the latest info on Ramin visit http://www.raminkarimloo.com, check out his official Facebook page and follow him on Twitter @raminkarimloo.

Liebe Stirbt Nie – Hamburg, 29th December 2015

31 Dec

I watched the London production of Love Never Dies various times despite not being sold on the story. Reason was the great score and the wonderful cast.

When I first heard about a German production of the show I was absolutely sure I would give it a miss – just like I do with most shows over here. However, circumstances arose that meant I would find myself in the Operettenhaus in Hamburg on a cold evening in December.

First of all Liebe Stirbt Nie is adapted from the Australian production of Love Never Dies which differs from the London production in terms of set and costumes. The score remains mostly untouched but has been translated into German.

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Mathias Edenborn (alternate) played the Phantom on this occasion. He has a rich voice and manages to do the score justice. I admit I wasn’t blown away by his performance though. His portrayal seemed over-dramatic but that might be the way he has been directed to play the part so I will give him the benefit of the doubt. I simply prefer the Phantom to be a bit more subtle with just the occasional outburst which then comes across as even more meaningful and gripping.

But then subtleness is not what Liebe Stirbt Nie is about. This show wants to wow the audience by putting on a true extravaganza. Sadly it fails. The set is meant to be impressive and colourful but the stage is too small for all the various bits and pieces. Everything looks cramped and a lot of the set’s beauty is lost due to lack of space. Some of the costumes appear too bright, too colourful and therefor lose their elegance – whoever thought Christine’s peacock dress was a good idea: I’m saying no.

Szenenbild aus dem Musical LIEBE STIRBT NIE, von Andrew Lloyd We

Jazmin Gorsline (alternate) is a cute Christine but lacks the vocal strength to do the big title song justice. I remember being speechless the first time I saw and heard Sierra Boggess perform this song in London – it was such a beautiful scene that built up to the most astonishing finale with Chistine standing at the front of the stage belting out these incredible notes. Jazmin Gorsline sings the song well enough but she doesn’t manage to make it that one moment you will remember, that one song that breaks your heart a little.

Yngve Gasoy-Romdal’s Raoul is the drunk, sad excuse of a husband you expect to see. I still think that character is one of the hardest to play in the show. It’s tough to get the fine line between making Raoul someone the audience feels for depsite his faults and portraying a man the audience simply hates. Too much on either side and Raoul becomes a Panto-like character. Yngve did ok but I got the feeling he wasn’t really taking the character seriously. I can’t blame him – Raoul has gone from knight in shining armour straight to drunk, abusive idiot. It never made sense to me and it never will.

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The rest of the cast did a good job with the material they’d been given – special mention for Björn Klein who was a wonderfully creepy Squelch. But said material is the problem that makes Liebe Stirbt Nie a very mixed bag. The story is ridiculous, simple as that. Looking at Phantom of the Opera the characters have undergone a completey unbelievable development. Some moments in the show are nothing but cringeworthy.

However, the score remains one of Andrew Lloyd Webber’s best works in my opinion. And while the German translation is far from perfect the beautiful melodies make the songs a joy to listen to.

So, is Liebe Stirbt Nie a failure? Not entirely. Is it a show you need to watch? No.

But as always I’m asking you to make up your own mind. Liebe Stirbt Nie is running at the Operettenhaus in Hamburg. For more info and tickets visit http://www.stage-entertainment.de/musicals-shows/liebe-stirbt-nie-hamburg.html.

 

2015 – A look back

15 Dec

First of all apologies for the lack of updates lately. I won’t bore you with details so lets just say I simply didn’t have the time to do any proper writing and unless I can really sit down and do something properly I would rather not do it at all – that goes for writing reviews as well. Plus most shows I visited in the past 2-3 months have been repeat visits or previews so not much to review anyway unless I wanted to bore you with ramblings about the same shows over and over again.

Anyway, what’s the point of this post? Easy, it’s the end of the year (almost) so time for my annual look back. I do have one more show coming up this year – Love never dies (Liebe stirbt nie) in Hamburg – but I doubt I will manage to post my views before January so in terms of reviews I am done for 2015.

It’s been a New York City kind of year for me with three trips in total. The award for most watched and most loved show of the year goes to Punchdrunk’s Sleep no more. You can find my review from my first visits in 2014 here. The show never fails to amaze me and even after almost 30 visits I am still discovering new things. If you like immersive theatre this is a must see. Actually, it is a must see, full stop. If you happen to be in New York at some point do go and check it out. It’s different, it’s clever, it’s thrilling and it’s visually stunning.

Another immersive theatre highlight in New York City was Third Rail Projects’ Then She Fell which I was lucky enough to see twice this year. I am still in awe of the pure beauty of this show and cannot wait to see the company’s new production Grand Paradise on my next trip to the Big Apple.

When it comes to musicals I am so glad one of my favourites of 2014 has made a return in 2015: In the Heights opened at the King’s Cross Theatre after a succesfull run at Southwark Playhouse last year. Find my review here and please don’t miss this gem of a show.

Then there was Gypsy at the Savoy Theatre and Imelda Staunton’s incredible performance as Mama Rose. In case you missed it or if you just want to rewatch it in the comfort of your home: It’s on BBC4 on 27th December (for those outside the UK: Have a google, there’s ways to stream tv online from abroad).

Other favourites of the year are An American in Paris (Broadway), Fun Home (Broadway) and Jersey Boys (London). I rediscovered my love for the latter after staying away for more than a year.

Personal fangirl highlight of the year: Meeting Hugh Jackman in New York City in January. The man is not just talented but also lovely.

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Hugh Jackman

 

Same goes for Ben Whishaw who I saw in Bakkhai at the Almeida Theatre this year and who remains my favourite British stage actor.

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Ben Whishaw

 

With this said there is nothing left for me than to thank everyone who has contributed to this little blog by reading, commenting and sharing (also a big thanks to the performers who kindly took part in my “10 Questions with” interview series). I really appreciate all the support and I am looking forward to sharing an exciting theatrical 2016 with you. Please keep in touch – comment on here, tweet or email me. I love hearing from fellow theatre supporters.

Wishing all of you a merry christmas and a wonderful new year.

xx

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