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Post by David J on Apr 3, 2020 6:47:53 GMT
Does anyone know how the guy with the sandwich messed up the play? Sorry to ruin it but every bit of "audience interaction" was staged - I saw it twice and it was exactly the same each time! I think the idea was that by offering a sandwich the audience member undermined the fact that Francis was starving and desperate for food. It even got to the point we’re actual audience members offered sandwiches. When I saw it at the Aldwych and a second guy shouted he had one Corden said “you’ve seen the show before haven’t you”. He did the routine, took the sandwiches, chucked it off stage and Oliver appeared briefly munching on a sandwich And when the fake audience member offered his sandwich corden said “oh not again” and repeated the routine And I think when he said later on we’re over the running time he gave the real audience member the glare
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Post by David J on Mar 25, 2020 20:54:52 GMT
The comfort of the seats could do with an upgrade. Me and my mum tried the £16 high seats at the sides last year. I’ve sat in those in upper gallery but had the benefit of leaning forward to see the action
Instead I’m sitting normally in that seat and could feel the front end is raised slightly so it digs into your thigh towards the leg joint. Slightly discomforting for me but it was worse for my mum who had to stand before the first act ended and asked to be moved in the interval
Otherwise I don’t know what needs improving in that theatre. Like others have said it’s almost perfect. Maybe it’s something to do with backstage, but you’d think that was addressed in the transformation project. Maybe the rehearsal space in the loft above the theatre is involved?
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Post by David J on Mar 25, 2020 0:37:39 GMT
Not quite the same but I thank the stars that I was lucky enough to get a ticket at the front for the final performance of the original Les Misérables last summer.
I hadn't seen the last cast yet so I decided to see them on their last night before the theatre closed for refurbishment. And then an hour or so later it was announced the performance was also to be the show's final night and the booking site went down with everyone rushing for a ticket.
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Post by David J on Mar 21, 2020 21:25:33 GMT
I fell in love for musicals when I saw 2001 UK tour of Beauty and the Beast. I remember that moment when the set turned to reveal the beast's balcony as he sang the climatic bit of that stirring If I Can't Love Her and I was hooked. Added by that thunderous opening of the entr'acte, the same one played when the beast has turned into the prince. Perhaps its a given since it's Alan Menken's music, but I hadn't seen the film yet, only knew parts of it, so hearing it fresh was quite an experience. So much that we went to New York shortly afterwards particularly to see the Broadway production.
Was entranced by Les Miserables watching the 10th Anniversary concert many times before I finally saw the Queens production in 2005/6. Just had to see those barricades turn into place after watching that clip in the concert (though it looked more dramatic than live). Only a shame I sat at the back of the stalls with the low overhead circle, missing Enjorlas fly the flag.
Like Dom, as a teenager going to see west end musical was a treat once a year. It was a half-way birthday present since my birthday is on boxing day.
That way I saw Chitty Chitty Bang Bang at the Palladium. Watched the film many times as a kid so watching the car fly in the flesh (or wouldn't that be metal?) was magical.
The opening of the Lion King was certainly a moment to remember, especially for me as a child. Shame I don't think much of the rest of the musical as an adult.
Mary Poppins when it previewed in Bristol back in 2004 was a theatrical experience that has never been replicated. So much production values and special effects, culminated with little me watching Bert do the unthinkable walking up the proscenium (yes, even with the wires). By contrast it had one of the most scariest moments in my theatrical watching experience with Temper Temper.
Spring Awakening was an amazing experience with that uproarious Totally F***ed. So was the moment when me and the audience gave a standing ovation just for a song, which was I'm Here sung by Cynthia Eviro in the Menier's Color Purple. Run Freedom Run was also a glorious moment in the St James Theatre's Urinetown. So too the staircase moment in 42nd Street
Wonderful Town has possibly the most bizarre moment I've seen in a musical. Watching the first act end with some Brazilian sailors and the citizens of New York do a conga line out through the auditorium. God I wish that musical could come back.
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Post by David J on Mar 15, 2020 16:29:53 GMT
My Fair Lady - An Ordinary Man I think the song is played to mock Henry Higgins’ views of women. The tone and tempo says it all It’s not played for laughs but to me it gets the point across. Perhaps we should look less at the words and more at what the songs are trying to tell us And isn’t it good to have stories with a variety of characters, even if their views are backwards, to play off one another Sure there are songs that are museum pieces now but it’s nice that they’re still around for us to look at and be happy to khow far we’ve moved on from this
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Post by David J on Mar 15, 2020 16:18:55 GMT
“As Long As He Needs Me”, from Oliver!: a woman explains her decision to stay with her abusive boyfriend (who later kills her) by saying he needs her too much for her to consider leaving him. Neither of these women seems a bit concerned with what she needs, only with what he needs. Actually if you look further on in the song she sings “If you are lonely then you will know when someone needs you you love them so” And this is a poor Victorian woman were talking about. You and I have the privilege of access to living conditions, social circles and technology where we can connect with anyone that she didn’t have. I’m not an expert on living in slums of Victorian London but she makes it clear she has no one but him in her life that she can go to I looked up this quote from the book when Nancy is offered a chance to escape the life she has she says: “"When such as I, who have no certain roof but the coffinlid, and no friend in sickness or death but the hospital nurse, set our rotten hearts on any man, and let him fill the place that has been a blank through all our wretched lives, who can hope to cure us...pity us for having only the one feeling of the woman left..." Maybe Oliver the musical focuses on lightheartedness to emphasise Nancy’s loneliness but As Long as he Needs Me stands out for expressing her tragedy
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Post by David J on Mar 3, 2020 17:49:49 GMT
My, a lot of the musical actor/actress categories filled with & Juliet and Dear Evan Hansen. Some appearing twice. Does that say a lot about last year's musical offerings last year in theatreland that not even the cast of Waitress gets a look in?
Not that I can't complain too much because I only saw & Juliet, Mary Poppins and Fiddler on the Roof and I'd say the cast of & Juliet stood out the most.
As for plays, I'm hard pressed between Cyrono and Rosmersholm for revival. Want James McAcvoy and Hayley Atwell to win the leads and Arinze Kene for the supporting actor
I want Ian Rickson to win the director award, but for Rosmersholm not Uncle Vanya. Rae Smith should win set design for both Rosmersholm and Uncle Vanya
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Post by David J on Mar 2, 2020 12:50:20 GMT
Felt this production was good but it was the lesser of the three I've seen (the Roger Allam and Roger Icke productions being the other two)
What elevates this production is Toby Jones. A true natural actor he is. Not only funny but he is spontaneous in his acting bringing pathos to the role. Never felt rehearsed. An example of how you can elevate above the perception of Chekhov's plays being dreary and full of characters who do nothing to improve their situation.
The problem is the rest of the cast doesn't rise up to the occasion. I can't blame those that don't like Chekhov and weren't converted by this production because it plays safe and it tells when Toby Jones is off. His spontaneous acting really contrasts with the rest.
Not that the acting isn't bad. Though I feel I need a lottery card for the hand gestures Peter Wight constitutes for acting in every performance of his. From the hand on forehead 'you're giving me a headache' to the hand on mouth 'im about to make a point' gestures.
The women are the next best thing in the quieter moments. Aimee Lou Wood's yearning for Richard Armitage's attention as Sonya is touching. So is the scene between her and Rosalind Eleazar as Yelena trying to consolidate with each other. I only suggest Aimee Lou Wood slow down in her line delivery at times. I also liked Anna Calder as Nana
But the issue is best exemplified by the meeting scene in the second act. The Professor is pretty much the catalyst of the play, who is the reason the characters are in the position they are. The other times I've seen the play that scene was pretty tense. Here Cirian Hinds plays on a surface level, showing the Professor's sense of self-importance but barely working off the others. It's pretty much Toby Jones who is carrying the scene
Richard Armitage was fine as Astrov but does act out the 'woe is me' moments he has, shouting out with that brooding accent of his.
The set was beautiful to look at with some lovely lighting with the candles.
A shame because I really liked Ian Hickson's Rosmersholm last year with such beautiful performances from Hayley Atwell and Tom Burke. But it does feel like he focussed more on Toby Jones than the rest of the cast.
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Post by David J on Feb 24, 2020 13:34:30 GMT
As I’ve posted before, the classic series would deal with social and political subjects but have an entertaining and well written story to handle the subject that didn’t come across as preachy as the current writing does. I would like CC to look at some of these classic stories to see how you can do the educational thing but still be entertaining tv. Thankfully we have Chibnall's opinion on classic who here (admittedly during the Colin Baker era when things were starting to go down hill). It seems ironic then that this season's overnight ratings have dropped massively to 3.71 million for the latest episode. That's the lowest Dr Who has been since the Colin Baker episode The Mysterious Planet Part Four at 3.7 million 34 years ago
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Post by David J on Feb 15, 2020 1:52:52 GMT
Had a 'become a member' leaflet today from the Mayflower Theatre, Southampton saying the show will be coming February 2021
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Post by David J on Feb 6, 2020 13:00:57 GMT
How are Day seat queues on Saturdays?
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Post by David J on Feb 4, 2020 18:40:34 GMT
They did promenade productions of Winters Tale and Pericles in the Swan in 2006 so it is hardly a radical new idea as they claim. It was pretty crowded for those, you really just had to pick a spot and stand there, quite unlike Hytner’s Bridge productions. Did they take out a lot of the stalls seats for that? I thought I read that domewhere
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Post by David J on Feb 4, 2020 13:34:30 GMT
Owen Horsley is directing with Gregory Doran (co-director or overseeing?).
I've only seen Horsley's Salome in the Swan which...had its moments. He also directed David Edgar's Maydays back in the 2018 Mischief Festival.
So a director with some flair alongside milquetoast Gregory Doran. I hope Troilus and Cressida has put Doran back in the mood to but on Shakespeare that is above average
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Post by David J on Feb 4, 2020 13:24:39 GMT
So the Swan Theatre is to be transformed into this arena-esque staging of Shakespeare's dramatization of one of England's most turbulent periods Gregory Doran seems to have finally realised that the RSC is behind the times and has decided to hop on Nicholas Hyntner's Shakespeare promenade bandwagon with 100 standing tickets right in the middle of the action. I'd personally be thrilled for a Henry VI promenade production. It has the makings of a visionary and intensive production that these plays need...if it was in the Royal Shakespeare Theatre or Bridge Theatre. How the heck are they going to fit this on the tiny swan stage. The artist's visualisation www.rsc.org.uk/our-theatres/seating-plans shows the arena-esque seats where the stalls so the stage itself looks the same except extended forwards with another entrance at the end. Still, isn't this going to be crowded with 100 audience members sharing the space with the actors?
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Post by David J on Jan 27, 2020 17:10:07 GMT
One of the biggest world problems facing mankind. The meaning of the word 'and' in Romeo and Juliet.
Never mind Antony and Cleopatra and Troilus and Cressida. They're all right. It's Romeo and Juliet we need to be concerned about.
Next year it will be the importance of 'The' in the comedies. With The Tempest, The Merchant of Venice, The Two Gentlemen of Verona, The Comedy of Errors, and The Merry Wives of Windsor,
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Post by David J on Jan 22, 2020 12:37:15 GMT
I’ve got my tickets, anyway, but I suspect I will need to see the show again in London to remind myself of the beauty of the true ‘Brilliant Original’. Here's hoping that will still be around in 10 years time. I joke but nothing seems sacred in this day and age
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Post by David J on Jan 22, 2020 12:23:22 GMT
Romeo is played by Alfred Enoch and Nadia Nadarajah will be the Globe's first ever deaf/sign language Cleopatra
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Post by David J on Jan 20, 2020 17:37:50 GMT
I noticed they used the same sight joke in both London and Birmingham this year. Near the start of the show, they have someone walk around the outside of the Stalls, along the front row, then out along the other outer aisle. Then there's a joke on stage about someone arriving late and then needing the toilet. In London, it was Christopher Howell. Didn't recognise the person in Birmingham, but it was probably the standby. Has that joke been doing the rounds at all the other QDOS pantomimes? Happened at my performance of the Palladium as well! The Palladium and Mayflower had the tongue twister routine and the whole narrow down the audience to pick on one guy in the front row bit. It’s as if there’s a big panto committee somewhere where everyone decides “this and this panto will do that routine, and this and this panto does that.” Filled in with routines that performers like the chuckle brothers do themselves You wonder why I think there’s a panto committee somewhere. Because one year I saw two pantos at Salisbury and Winchester. Neither QDOS pantos, just local companies with their own writers. And yet both of them coincidentally had the same laurel and hardy-esque routine, beat for beat All done so everyone except the minority of us who go far and wide to see multiple pantos will not notice that these routines are brought out at their local theatre again every couple of years But we still enjoy them all the same. And there are companies and writers who do think outside the box. I love the Salisbury Playhouse’s pantos for one, though I thought their Robin Hood last year was a bit lacklusture
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Post by David J on Jan 19, 2020 23:09:59 GMT
I saw the gala night show last Wednesday.
First off the revelation of the night was certainly Jon Robyns as Valjean. Completely different from when I saw him as Enjorlas nearly 10 years ago. Vocally strong, looks the part, has gravitas and nuanced in his acting. I believed his Valjean and his suffering from the get go which made his character arc more poignant. The best Valjean I've seen at the Queens/Sondheim since Geromino Rauch.
Glad to see the new set still extends into the extended façade over the boxes. Right down to the little entranceway from below on the bottom left hand side. The other good news is the stage is lowered so anyone in the front row will get a crick in their neck. I think there's more animations in the projections as well. That's what I thought looking at the curtain.
The crane is there thankfully there for Javert's suicide and I could swear Javert is raised higher before being pulled back in this production so it looks more dramatic. The set is nicely packaged on the Sondheim stage and I really like the barricades here. In the UK Tour I could see the ends of it. Here it fills the length of the stage so it looks like a proper barricade.
Like the little additions here and there. Right down to the bell ringing in the distance when morning dawns on the barricades. I liked that Fantine and the factory women are amongst the beggars at the start of At the End of the Day and at the last moment they throw off their rags. In One Day More the Thenardiers now run on stage to sing their little bit and go off to stand in the alcove in the façade. Better than poking out of a little window high up above.
Liked Carrie Hope Fletcher as Fantine. Harry Apps has improved since I saw him as Marius in Newcastle. Recently I've seen Thenardiers that don't play up the comedy whilst Madame T annoyingly clowns it up. Here Josephina Gabrielle doesn't overdo it, which makes her and Ian Hughes the better pair for it. Lily Kerhoas and Ashley Gilmour are fine as Cosette and Enjorlas, just unmemorable as usual.
Sadly Bradley Jaden didn't do it for me this time as Javert. I like how he throws himself into roles, and despite his age when I saw him back in the July I appreciated how he didn't let that hold him back as Javert and gave his own interpretation of the character. Here he resorts to shouting the lyrics so many times. To the point where in the first bit of his soliloquy he goes between straight up singing and shouting each word. Very distracting watching an actor who is not old enough for the role overegg it. Just pull back Bradley.
Couldn't help noticing Shan Ako resorting to riffing during On My Own. Also Ciaran Bowling was a bit OTT as Grantaire.
Otherwise call me biased towards the older production but the London show has now lost its unique look. Where it was down to the cast to bring Victor Hugo's huge story to life with the occasional big set and the turntable keeping the show flowing thanks to a visionary creative team. It now feels like any other West End/Touring production in the past decade.
What annoys me most is that I wanted the new production to improve the orchestrations so I can hear the music boom out as it does in the touring production. Nah, its just as underwhelming in that small orchestra pit as it was in the old version.
Maybe it was me sitting in the dress circle instead of the front of the stalls for the first time. Maybe I'm feeling burned out after seeing Les Mis so many times last year. But something was missing for me, and it doesn't inspire me to come back for years on end.
I'll come back later in the year to try the front rows and see Jon Robyns and Rachelle Ann Go again (though I must say Luke McCall has so much presence in the ensemble with some strong vocals that I kinda fancy seeing his Valjean). I hope the production will persuade me otherwise sitting up close again. Still, the music and lyrics still lives on but for me this isn't the same Les Mis anymore and I'll only go if there's a performer I want to see.
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Post by David J on Jan 3, 2020 12:54:06 GMT
Saw Peter Pan at the Mayflower Theatre and it was okay
The story certainly doesn't lend itself to panto. The show itself seemed hellbent on rushing through the story that by the interval we've already done the tinkerbell revival
Which by the way is pulled off rather weirdly. You first of all watch Tinkerbell take the poison and then there's a brief blackout in which she gets off. In comes Peter and we watch a video projection of Tink's spirit singing a sad goodbye song. Which was pointless given she is alive a few minutes later.
The show feels a little rough about the edges. Like its low on QDOS' priority list. I've excused their cgi videos in the past but in 2020 they could really do with replacing with better graphics.
But it doesn't matter because it is the acts to carry the show. Sadly Darren Day doesn't have the oomph to be the side-kick entertainer/comic role as Mr Smee. It took a while for the audience to warm up.
This is the first time I've seen the Grumbleweeds. They're acts range from fine to a scene where Robin Colvill messes about with the lighting, sound and sets. Very hilarious. A moment that was on par with the palladium acts.
And then later we had Robin Colvill rollerskate across the stage naked. Has panto come to this...
The other highlight was the Timbuktu Tumbles who do some amazing acrobatics.
Marti Pellow is what you'd expect him to be as Captain Hook. Not the best singer and actor but he was enjoying himself. Apparently he even wrote a lot of the songs in the show. He took part in the tongue twister act saying so many Scottish "sh"s that would make Sean Connery jealous
As for Jaymi Hensley as Peter Pan I've got one word for him: ANNUNCIATE. He rushed through most of his lines and was inaudible a lot of the time. Still there was a moment where he and Cassie Compton as Wendy were intentionally corpsing that was hilarious
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Post by David J on Jan 2, 2020 17:28:17 GMT
And has the stage height been lowered? Tried front row once and don’t want three hours of getting a crick in my neck again
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Post by David J on Dec 29, 2019 12:18:59 GMT
Saw my last productions of the year yesterday
1. Come From Away 2. Richard III (Headlong) 3. The Curious Case of Benjamin Button 4. Orpheus Descending 5. Rosmersholm 6. Downstate 7. A Midsummer Night's Dream (Bridge Theatre) 8. Sweat 9. Teenage Dick 10. White Christmas
Runners up : Les Miserables Revival UK Tour, The Clockmaker's Daughter concert, A German Life, Appropriate, The Life I Lead, Dead Dog in a Suitcase, Admissions, The Dumb Waiter/A Slight Ache, An Enemy of the People (Nottingham)
The worst 1. Richard II (Almeida) 2. Three Sisters (Almeida) 3. Stones in his Pockets (UK Tour) 4. Missing (Gecko Theatre Company) 5. A Midsummer Night's Dream (Tobacco Factory) 6. Night of the Iguana 7. All About Eve 8. Venice Preserved (RSC) 9. Twelfth Night (Globe Tour) 10. Betrayal
2019 was a great year for the Donmar Theatre premiering three great plays from across the pond. Not so much for the Almeida and the RSC continues to contribute average productions
Credit goes to Hyntner for delivering another promenade Shakespeare production with spectacular production values. A mention also to Dead Dog in the Suitcase, Tartuffe and Rosmersholm for a coup de theatre at the end. Peter Gynt was also colourful and surreal at times.
Tom Mothersdale would be my favourite actor of the year as for his mesmerising Richard III, in front of Tom Burke's downplayed performance (in Rosmersholm), Gerald Kyd (Deep Blue Sea), David Moorst' hilarious Puck (Bridge's Midsummer Night's Dream), Felix Mosse currently playing Marius in the Les Mis UK Tour and Miles Jupp's delightful performance as David Tomlinson (The Life I Lead).
But the year belongs to the ladies with some outstanding performances from Sally Field harrowing performance in All My Sons, Hattie Morahan desperate for something more in Orpheus Descending, Hayley Atwell's self loathing turn in Rosmersholm, Alex Kingston being the activist in An Enemy of the People, Caroline Quentin and Alexandra Gilbreath stealing the show in The Provoked Wife and Nancy Carroll's poignant performance in Deep Blue Sea.
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Post by David J on Dec 28, 2019 12:16:05 GMT
Here’s some directors that stood out
Jeremy Herrin - what I would call an ensemble director because he brings the best of everybody in his casts, particularly in This House, the globe theatres Much Ado and The Tempest, Wolf Hall/Bring out the Bodies, People Places and Things and Uncle Vanya at Chichester. Also a shout out to the Nether and The House They Grew Up In
Marianne Elliott - needs no introduction. Gave us some defining productions including Curious Incident of the Dog in the Night Time, Angels in America and Company
Howard Davies - glad to have seen some beautifully performed productions of For Services Rendered and An Enemy of the People before he passed away
Simon Godwin - Officially my favourite Shakespeare director for bringing us his African Hamlet, Twelfth Night, Two Gentlemen of Verona, Antony and Cleopatra and Timon of Athens. Also he made GBS’ notorious act in Man + Superman one of the most hilarious scenes of the decade. Shame we’re loosing him to the Chicago Shakespeare Company
Timothy Sheader - For bring us Into the Woods, Crazy for You and Jesus Christ Superstar at Regents Park Open Air Theatre. Also To Kill a Mockingbird and for bringing Neverland Rob WW1 in Peter Pan
Rupert Goold - His Romeo and Juliet and The Merchant of Venice were just outstanding. Also for headlining productions at the Almeida including King Charles III, Richard III, American Psycho and Ink. He also directed Made in Dagenham
Dominic Drongoole - the globe theatre was blessed with his productions of Henry IV and Henry V As well as The Duchess of Malfi, The Changeling, Pericles and The Tempest at the Sam Wanamaker
Robert Icke - He does divide people, perhaps exemplified by The Wild Duck with an first act that dragged. But the second act showed that when he gets it right it goes down a storm and he can direct some outstanding performances. Particularly Andrew Scott’s defining performance as Hamlet
Nicolas Hyntner - for his work at the NT including Collaborators, Timon of Athens, Othello and One Man two Guvnors. And now he brings Shakespeare to promenade theatre with the bridge theatres Julius Caesar and Midsummer
Thom Southerland - if there’s one thing this guy proved, It is that the best of musical theatre isn’t necessarily found in the west end. Particularly with Titanic, The Woman in White, Ragtime and Grey Gardens
In fact there’s were a number of outstanding musical productions produced in the fringe and regions. Thanks to Luke Shepard (In the Heights, Working, Murder for Two), Nikolai Foster (White Christmas, Calamity Jane, Sunset Boulevard), Gary Lloyd (Carrie), Derek Anderson (Twickenham Theatre’s Sweeney Todd), Tom Morris (The Grinning Man) and Michael Webborn (The Clockmaker’s Daughter)
Other mentions include Phyllida Lloyd, Justin Audibert, Jonathan Munby, Jonathan Kent, Jonathan Church, Emma Rice, Blanche McIntyre and (pre-2013) Gregory Doran
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Post by David J on Dec 28, 2019 11:37:19 GMT
First if this should go in the Performers and Creatives section then fine. This is really recognition of some of the most creative productions of the past decade thanks to people you never see on stage And if anyone missed it here’s the Top Performers of the Decade thread theatreboard.co.uk/thread/7501/top-performers-decadeThis be can for people including directors, designers, choreographers and so on. I’ve only included productions I’ve seen so do point out any other brilliant productions these people created First are some teams I can’t single out because together they’re practically dream teams. One is Matthew Warchus, designer Rob Howell and lighting designer Hugh Vanstone who are responsible for Ghost, Matilda, Groundhog Day and the Old Vic’s Christmas Carol Second is Maria Aberg, Laura Marling and designer Naomi Dawson for the most joyous As You Like It I’ve ever seen back in 2013. Particularly Marlings songs which left me grinning If there was a team that represent what fringe theatre can do it would be director Luke Fredericks, choreographer Lee Proud designer Stewart Charlesworth and lighting designer Catherine Webb for somehow fitting R&H’s Carousel into the tiny Arcola. One of the most imaginative and intimate productions I’ve seen, perhaps exemplified after the fair scene when a tree made out of cloth was pulled out of a box and hung above the stage with the lighting shining through Others include the RSC’s “randy fiesta” that was The Rover thanks to director Loveday Ingram, designer Lez Brotherston, lighting designer Tim Lutkin, and Grant Olding for the energetic music. Also director Amy Leach and designers Haley Grindle and Joshua Carr for bringing Bertolt Brecht to young audiences in the Unicorn Theatre’s The Caucasian Chalk Circle. Both respectful to Brecht’s non naturalistic style of theatre and very imaginative
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Post by David J on Dec 27, 2019 13:11:23 GMT
I've been meaning to create this thread since we've done the best plays/musicals of the decade.
What were the performers that defined the decade for you. Plays, musicals or whatever.
This is for me the actor's that came to my attention or those newcomers that I quickly grew to like in the last 10 years. I've tried to avoid the classical old troopers like Derek Jacobi and Roger Allam (because duh of course they're great) or any A list celebrities unless there was a defining performance
This is for those talented performers that are to me A-list celebrities.
In no particular order
Cynthia Erivo: I know her social media presence irks people, but she's the only actor I've seen being given a standing ovation for one song, I'm Here, and deservedly so in The Color Purple
Jamie Parker: An actor of many talents doing Shakespeare in Henry IV and Henry V and musicals like Guys and Dolls. It was great to see his work in 2010s culminate with him originating adult Harry Potter in the Cursed Child
Carrie Hope Fletcher - Another who could do with less time on social media, but undoubtedly an actress who has proven her mettle playing Eponine and hopefully Fantine judging from the concert.
Patsy Ferran - Hard to believe that screaming maid in Blithe Spirit with Angela Lansbury went on to give such a poignant performance in Summer and Smoke. An Olivier Award most deserved. With an endearing personality giving some wonderful performances like Celia in As You Like It (she needs to play Rosalind one day!)
Pippa Nixon: Talking of Rosalind she gave the best performance of that role to date alongside Alex Waldmann. They also made a great pair in King John. A wonderful actress I've had the pleasure to see in Cardenio, The Tempest and The Importance of Being Earnest
Tim McMullan: Another man of many talents. One of the most expressive performers without raising an eyebrow with that beautiful voice of his. His Prospero is the most poignant I've seen so far. And on the other side of the spectrum he can give the campiest and hilarious performances in Man + Superman and Twelfth Night
Jeremy Secomb: Undoubtedly the best Javert I've seen live on stage. He looks at the part, he acted the part with such wide eyed obsession and a great voice to top it all off.
Andrew Scott: Undoubtedly the defining Hamlet of the decade for me delivering those famous lines with such ease it was like he was talking to you over coffee. An actor devoted to his craft as shown in Private Lives this year.
Jenna Russell: Immensely enjoyed her performances over the last decade, including Into the Woods, Merrily We Roll Along, Urinetown and Grey Gardens. In particular she gave a loveable performance in Di Viv and Rose The Mischief Theatre Company: A talented company devoted to their craft who have given us such hilarious Gone Wong productions and The Comedy About a Bank Robbery
Some honourable mentions include Bradley Jaden, Jade Anouka, Rachelle Ann Go, Craig Mather, Paapa Essiedu, Fra Free, William Postlethwaite, James McArdle, Tom Motherland and Alex Waldmann
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