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Post by ilovewemusicals on May 26, 2022 10:41:27 GMT
So Danielle is playing the role Cher played in the film? Omg, yes she is. Great spot.
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Post by ilovewemusicals on May 26, 2022 8:09:28 GMT
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Post by ilovewemusicals on May 26, 2022 7:44:04 GMT
WhatsOnStage has just teased the casting announcement so I expect we’ll know around 10am.
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Post by ilovewemusicals on May 25, 2022 9:04:00 GMT
&Juliet has extended in London until 25th March 2023, making Mrs Doubtfire’s transfer to the Shaftesbury Theatre following its Manchester run unlikely.
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Post by ilovewemusicals on May 15, 2022 15:48:14 GMT
Angela Bassett and Marianne Jean-Baptiste with the Resident Director of The Drifters Girl.
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Post by ilovewemusicals on May 10, 2022 20:40:18 GMT
According to Beverley Knight’s Facebook post, Alana Leslie is filling her shoes this week. Previously I saw Vanessa Ela Young cover the role of Faye Treadwell.
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Post by ilovewemusicals on May 10, 2022 18:30:11 GMT
According to Mark Shenton on Twitter, Simon Lipkin is to play Daniel Hillard/Mrs Doubtfire. I can’t see this anywhere on his Twitter? Mark’s tweet has since been deleted.
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Post by ilovewemusicals on May 10, 2022 15:40:59 GMT
According to Mark Shenton on Twitter, Simon Lipkin is to play Daniel Hillard/Mrs Doubtfire.
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Post by ilovewemusicals on May 4, 2022 17:02:57 GMT
I assumed that the reason for announcing Cinderella’s closure on Bank Holiday Sunday was because they wanted to put tickets on sale for a big summer show this week. Looks like I was wrong and there was no reason that they couldn’t have waited.
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Post by ilovewemusicals on May 2, 2022 21:30:55 GMT
Judi - Liaisons. I know they’ll have her doing SITC but how about throwing a curveball. I think Dame Sian Phillips will sing Liasons and her and Dame Judi will joke about how Sian played her mother at the National even though she’s only a few months older.
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Post by ilovewemusicals on May 2, 2022 16:18:17 GMT
Apparently so, for 10 weeks from end of October. She would still have a few months to do Drifters Girl though.
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Post by ilovewemusicals on May 2, 2022 9:52:14 GMT
Does anyone know when the cast change will be? Hoping to catch Roger Bart again before he leaves.
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Post by ilovewemusicals on Mar 28, 2022 16:39:25 GMT
Recently added to Nimax Theatre website:
Beverley Knight will not perform from Tuesday 10 May – Saturday 14 May.
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Post by ilovewemusicals on Mar 19, 2022 23:18:50 GMT
Finally saw The Drifters Girl this afternoon. The two cast members that I really wanted to see going into it, Beverley Knight MBE and Matt Henry MBE, were both off (Bev due to illness and Matt on scheduled leave I presume).
Despite that, I really enjoyed this show, which is packed with The Drifters’ hit songs. The book of the musical tells of Faye Treadwell who fought against racism and misogyny to help The Drifters attain global success. The problem is that a lot of the plot is talking about record deals etc. and hence a lot of the dialogue heavy scenes, in act one especially, seemed to drag out. In act two, there are a few really funny scenes, especially when The Drifters come to the UK - and I was definitely more invested in the dialogue scenes then.
We had Vanessa Ela Young as Faye Treadwell (the part usually played by Beverley Knight). I have heard bad things about Beverley’s accent, well Vanessa’s was spot on and her acting was first rate. The only time I really missed Beverley was during Faye’s four songs where Bev’s growls and powerhouse vocals would have taken the roof off. Having said that, Vanessa seemed to grow in confidence with every song and her rendition of Harlem Child in act two got one audience member yelling with delight. What surprised me, considering that the role is usually played by (in my opinion) the greatest singer in the country, is that this is more of an acting role than a singing role. I hope to catch Beverley before she leaves and will be keen to see what it’s like with her in the role.
The star of the show by far, for me though, was Tosh Wanogho-Maud. Starting out as an hysterically funny bar worker, he goes on to play two iconic Drifters lead singers (Ben E. King and Rudy Lewis). His version of Stand By Me, as Ben, was simply breathtaking. Every word was meticulously thought about, to be delivered exactly as Ben would have delivered it. His portrayal of Rudy Lewis, a complete contrast, completely captivating and heart-wrenching. Honestly, I have no idea how Tosh is not nominated for an Olivier this year, as he completely stole the show and blew me away.
Tarrin Callendar is also incredible. He starts off singing all the low parts of songs and then transitions to singing all the high parts. I have no idea what his vocal range actually is but wow.
If you’re a fan of The Drifters and want a feel-good show then this is for you. If you’re expecting Faye to sing a lot of songs, you may come away disappointed. But the guys who play The Drifters are so talented that their performances stay with you long after the curtain comes down.
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Post by ilovewemusicals on Mar 18, 2022 23:10:29 GMT
I think I might have spotted Valda Aviks and Amy Booth-Steel in the teaser trailer. Wondering if they could be Sister Mary Lazarus and Sister Mary Patrick on the tour.
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Post by ilovewemusicals on Mar 18, 2022 21:12:08 GMT
“I am brave, I am bruised I am who I'm meant to be, Sister Mary P”
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Post by ilovewemusicals on Mar 18, 2022 19:45:53 GMT
In 2020, I predicted that Lesley Joseph would play Sister Mary Lazarus at Eventim Apollo and also be on standby to cover for Jennifer Saunders. Can’t believe I was right. Incredible.
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Post by ilovewemusicals on Mar 15, 2022 22:18:19 GMT
My kind of show Chicago is. Faye Brookes sings and acts up a storm as Roxie, although at times I’m straining to hear some of the dialogue. Same with Russell Watson, but he smashed We Both Reached For The Gun - “The Voice” getting it’s chance to shine at the end of that song. Sheila Ferguson maximises the comedy out of her role as Mama Morton and brought her own singing style to When You’re Good to Mama. Djalanga Scott high kicks up a storm as Velma Kelly. So great to see the iconic Fosse choreography again.
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Post by ilovewemusicals on Mar 14, 2022 19:19:59 GMT
Sharon D. Clarke and Matt Henry are doing an Olivier awards themed cruise together in May. I now want Sharon to be Beverley’s replacement in The Drifter’s Girl. It would definitely warrant a repeat visit.
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Post by ilovewemusicals on Mar 8, 2022 20:20:37 GMT
I actually think I preferred Sam Barks’ performance in Frozen to Stephanie’s. Both were great but Sam had such a commanding presence and didn’t over-sing her songs.
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Post by ilovewemusicals on Mar 8, 2022 17:47:23 GMT
Took a punt and booked some front stalls seats in the hope that it is Bev.
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Post by ilovewemusicals on Mar 7, 2022 19:01:46 GMT
I’m going to New York at Easter too. If you’re there on 15th and 16th then 94 year old singer Marilyn Maye (nicknamed the Queen of Manhattan Cabaret) is performing at Feinsteins at 54 Below. She sings songs from Hello, Dolly!, Mame, Cabaret etc.
There’s also a new comedy musical starring Billy Crystal and Shoshana Bean called Mr Saturday Night. I’m thinking of tying that in with lunch at Katz Deli (which featured in Billy’s famous film When Harry Met Sally). Also seeing Plaza Suite and combining that with afternoon tea at the Plaza Hotel where the play is set (the tea is expensive and you would have to book soon).
Also if you’re interested in doing an Easter type thing, you can enter the ballot for tickets to Easter Solumn Mass at St Patrick’s Cathedral on Easter Sunday at 10:30am.
I think they are predicting a busy Easter. Lots of shows already selling fast, so you would be unlikely to get discounts.
A lot of shows are offering the chance to exchange or refund at the moment, so it can be easier to change your plans if you need to.
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Post by ilovewemusicals on Mar 6, 2022 12:03:22 GMT
Yesterday I saw Moulin Rouge for the first time - From the moment you step into the auditorium of the Piccadilly Theatre, you are transported to the Paris of old. Serious-faced performers wander around the stage before the show starts, giving off dark, mysterious vibes. This is quite a contrast to when the show starts and everything is colourful and the cast are dancing up a storm. Which brings me to the dancing in the show. It’s breathtaking, particularly the iconic can-can routines, which are worth the visit to see the show alone.
The set is another marvel as it seems to stretch for miles and performers pop-up from all around the auditorium during various moments of the show (be sure to look at the Windmill that is half way down the auditorium when Satine says “talk to me Harry Zidler” in the Diamonds song). The way that scenery drops in during a split second or how the entire design changes during a very brief blackout is stunning.
Harry Zidler, the Moulin Rouge’s master of ceremonies, was played by Clive Carter. His was BY FAR my favourite performance of the evening. He portrayed everything from Harold’s charismatic host persona to his sympathetic friendly persona (who loves his colleagues) yet his stubborn, duty bound persona all brilliantly. For me, the way this role is done is one of the main reasons to see the show.
I was sat in Row B, directly behind the can-can cabaret seats. The can-can seats themselves, if you’re sat on the front row then you would miss a lot of the action. The second row you are very close to the performers. The chairs also have a wooden back and less padding than the other stalls seats and the show is long. So just a warning to anyone considering those.
Our seats in row B were comfortable apart from limited legroom due to the set protruding out in front of us, which my dad particularly found agonising at times. This wasn’t helped by the fact that the matinee was 15 mins late starting though.
As for the show itself, it’s based on Baz Luhrmann’s film of the same name, which is a tragic love story about a Moulin Rouge prostitute named Satine and a poet named Christian who fall in love. However, as the Moulin Rouge is in debt, Satine feels compelled to love the wealthy Duke, even though he only loves her for her appearance.
The film successfully put 80s and earlier pop songs into the storyline to excellent effect. In the musical, even more songs are added from the 90s and 00s. The way they mash-up all the different songs is one of my favourite things about this show.
The Duke in the film was not a DILF but in the musical he really is (we had Craig Ryder in the role and he was really good). However, there are so many shows with love triangles where the other guy is a DILF that it takes away the originality of the film for me. In the musical, The Duke still wants to buy Satine’s love though and is still very much the villain of the piece.
Christian, on the other hand, is one The Bohemians, who are opposed to the Duke and value love. The Bohemains want to put on a musical at the Moulin Rouge and this allows Satine (its leading lady) and Christian (the poet who will write the lyrics and play the hero) to have a secret love affair (although the Duke is not a fool).
One thing I noticed, which probably most people won’t due to how much stuff is always going on, is that the great writer (Christian) is never seen to write anything down during the entire show. It would have been nice to have a brief moment of him sitting at a typewriter.
The Bohemians were played with great panache by Elia La Toro as Santiago (his version of Lady Gaga’s Bad Romance a highlight) and Jason Pennycooke as Toulouse (his French accent and version of Nature Boy two highlights). I didn’t find that Santiago or Toulouse had as much personality as the characters in the film though. Particularly missed was Santiago’s narcolepsy.
The ending was probably the biggest let down of this show for me. The whole plot is building up to the theatrical performance that will make Christian’s lyrics famous. The performance itself is reduced to a few bits of dialogue. Also, a dramatic moment with Satine at the end did not have much drama for me either (though some audience members still cried). I would have liked the Duke to have come storming in with a gun and confront the couple as he does in the climax of the film.
This is a very fun show though and, although tickets are extortionate, you see where all your money has gone. I probably had one of the most enjoyable afternoons I’ve ever had at the theatre and will definitely see it again. But it does have plot flaws, particularly towards the end.
P.S. I love the song Come What May and I know it was the only original song in the Moulin Rouge! film but it’s reprised soooooo many times in act two. Surely they could have found a substitute song.
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Post by ilovewemusicals on Mar 4, 2022 14:18:02 GMT
I've got my fingers crossed that Beverley Knight can somehow get out of Drifters Girl because she would be perfect as Deloris. Drifter’s Girl current booking period ends on 2nd July (two weeks before Sister Act London run begins). On a selfish note, I hope she doesn’t do it as I gave up my tickets when Whoopi dropped out but Beverley is my Queen.
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Post by ilovewemusicals on Mar 3, 2022 7:22:33 GMT
Watched West Side Story on Disney+ last night. From the moment it starts, you can tell it’s directed by Steven Spielberg, as you get big swooping camera shots that reveal the setting (a derelict part of New York). I have to say that the camerawork throughout the film, especially the way Spielberg captures the dancing throughout the film is superb.
For those who don’t know, West Side Story is a retelling of Shakespeare’s Romeo & Juliet that transitions it to New York and tells of members of two different gangs who fall in love (with tragic consequences). One gang is made up of a Puerto Rican community (Sharks) and the other from Yankee descent (Jets). I felt the show adapted Romeo & Juliet exceptionally well and for me it all fits together in a much more coherent way than other adaptations of Shakespeare’s play (like & Juliet).
Another thing I felt that worked really well in this new film was the transition from dialogue to song. And this is something that the performance of Ansel Elgort in particular I felt added. It just felt natural and effortless that the song was starting. Ansel plays Tony, who is trying to get out of the Jets gang and get a job but his former gang mate Riff keeps pulling him back into it. My one criticism of Ansel’s performance is that when he was mocking Riff, in the song Cool, he could have mocked him more. He always seemed to play the role rather seriously, which - for the most part - worked but it would have been good to see a sillier side at times.
Mike Faist as Riff gave an extremely believable performance. He portrayed someone who is desperate to cling on to the life he knows so well. He really helped me to buy into the story.
One of the highlights of the film is one of the show’s most famous songs being sung by 1961 West Side Story film star Rita Moreno. Rita played a shop owner who gives Tony his chance of getting out of the gang and she played the role straight from the heart.
Also giving a heartfelt performance was Rachel Zegler as Maria, the Puerto Rican that Tony fancies. Her voice blends so well with Ansel’s on iconic love songs like Tonight; the big balcony scene moment of Shakespeare’s play (the use of camerawork through the balcony gratings so well done). And she captures the playfulness of songs like I Feel Pretty so well.
I felt like the whole film completely enraptured me for 2 hours and 40 minutes; which is not an easy feat. I would say it’s arguably one of the greatest movie musicals of all time.
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Post by ilovewemusicals on Mar 2, 2022 10:10:39 GMT
Now available to watch on Disney+
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Post by ilovewemusicals on Mar 1, 2022 10:56:28 GMT
I'm going to guess Paul Zerdin and Carrie Hope Fletcher You’re TheatreBoard’s answer to Jonathan Ross
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Post by ilovewemusicals on Mar 1, 2022 10:53:15 GMT
Gonna do a Masked Singer and seal in my final guesses.
I reckon it’s Fra Fee and Billie Piper
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Post by ilovewemusicals on Mar 1, 2022 10:45:41 GMT
After watching Jodie Comer in the new episode of Killing Eve, it made me think she’d be a great Reno Sweeney. She already has the costumes for it.
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Post by ilovewemusicals on Feb 23, 2022 13:24:20 GMT
My dream casting for London would potentially be Mary J Blige or Queen Latifah as Deloris and Snoop Dogg or Harvey Keitel as Curtis Shank Jnr
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