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Post by FrontroverPaul on Aug 22, 2024 12:09:04 GMT
Showcase performance of new musical at the Savoy on Thursday 5 September at 1pm, all seats £15 plus booking fee. Described as a love story inspired by the Estonian Revolution with a Europop score. Cast includes Dan Burton, Damian Humbley, Alex James and Molly Lynch. I'm booked elsewhere unfortunately for me. www.singingrevolutionmusical.com/
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4,955 posts
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Post by Someone in a tree on Aug 22, 2024 12:41:38 GMT
The singing revolution is a fascinating story and a really positive bit of history
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Post by FrontroverPaul on Aug 22, 2024 13:27:54 GMT
I've decided I'd rather see this than the show I already had booked... Ticket purchased.
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Post by jarnew on Aug 22, 2024 17:01:11 GMT
I should be in London around that time, a europop musical sounds right up my alley so i'm booked!
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Post by darreno on Aug 22, 2024 20:27:34 GMT
Thanks for pointing this out. Europop and Musical sells me a ticket 9 times out of 10.
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2,740 posts
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Post by n1david on Aug 22, 2024 21:11:49 GMT
I am gutted I can't see this as I love Estonia - I used to travel there frequently when I worked for Skype as our main development team was based in Tallinn. Wonderful people and a fascinating history.
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Post by capybara on Sept 6, 2024 10:05:31 GMT
An enjoyable 90 minutes (single act) performance of Tony Spinosa’s high energy musical telling a small slice of the Estonian Revolution story. With a distinctly Europop-inspired score, it will come as no surprise that while some numbers were instant toe-tappers, others were somewhat more forgettable. Such is the nature of the genre, I suppose.
It was a strong cast, performing the piece mostly off-book. Molly Lynch shone as the Soviet general’s daughter Sofia Solokov, while Alex James-Hatton (who is seen most recently as Clyde in Bonnie & Clyde) was given ample opportunity to flex his impressive vocals.
It is worth mentioning the excellent Damian Humbley was part of this workshop cast too, playing Nikolai Solokov. Gracie Lai was another fine addition to this company, giving a spirited portrayal of the conflicted teacher Leena.
Overall, this show feels very much in the early stages of its development. The score is mixed in quality but there is certainly the genesis of a good idea there. The musical hooks are largely good. If I were Spinosa, I’d concentrate on improving the sometimes glib lyrics that accompany the melodies.
The book scenes also needs tightening up too, although some leeway can be allowed given this was a workshop performance. But, on the whole, this was a positive start to the show’s life in London. I wouldn’t expect the West End for it in its current form but could absolutely see it working as a limited run at Southwark, for example. Either way, I’m intrigued to see what comes next.
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