War Horse: Behind the Scenes

Yesterday my friend Emma and I got up bright and early (well, I did anyway) to go to the New London Theatre where the extremely popular War Horse is currently showing. Assistant Puppetry Director, Jimmy Grimes, gave a really insightful talk about the development of the puppetry used in the story and, along with the very talented puppeteers, provided a demonstration of how Joey, the star of the show, is brought to life.

The amount of research, thought, and detail, that has gone in to the way horses move, their behaviour, and the noises they make, is staggering, and at just £4 a ticket it was an absolute privilege to hear what Jimmy had to say and to see the professionals at work. It was eye opening how an initially inanimate object can be made to seem so life like, but they pull it off with bucket loads of precision and competency. I've not yet seen the show, but I cannot wait to do so after the all too brief behind the scenes glimpse.

Unusually we were allowed to take photos of Joey on this occasion, although if you do go to see the show bear in mind it is not permitted during the actual performances. I took a couple of short videos which are below so you can see just what I mean when I say how clever and masterful the puppeteers are. You may have to turn your volume up if you want to hear Jimmy.

 

Here is Joey getting to know an audience member

 



The puppeteers show how Joey trots and gallops

Glee Stage Musical "in the works"

Rocky Horror, West Side Story, and Grease, are just a selection of well- known musicals that the cast of hit TV show Glee have performed over their four seasons on the small screen. The tables may now be turning as 20^th Century Fox co-head Gary Newman let slip that a Glee stage musical may well materialise in the future.

During an Investor Day with shareholders, Newman reportedly told them:  “We launched a live stage business with a sold-out arena concert tour in 2011, and now a live stage musical is in the works”. The news comes shortly after the announcement that there will be a season five and six of Glee still to come, despite the recent loss of lead cast member Cory Monteith.

No further information has been revealed so it is unknown whether any of the cast themselves will appear in the stage adaptation. Lea Michele, Matthew Morrison, Jane Lynch, and Darren Criss, have all appeared on a Broadway stage before, but there’s no telling how involved they will be with this project.

Meanwhile, Lea Michele made a moving tribute to her on and off screen boyfriend, Cory Monteith, after winning a Teen Choice Award for Choice TV Actress in a Comedy. Michele thanked her fans for all their support during a difficult few weeks, and dedicated the award to Cory.

 

Jersey Boys Movie- Casting Has Begun!

 

The eagerly awaited casting process for Clint Eastwood’s upcoming Jersey Boys movie adaptation now appears to be in full swing.

It wasn’t too long ago that it was revealed Christopher Walken (Pulp Fiction, Hairspray, Seven Psychopaths) would be taking on the role of Angelo ‘Gyp’ DeCarlo. It has now been reported that joining him are Eric Bergen (Jersey Boys First National Tour, Los Angeles, and Las Vegas casts) as songwriter Bob Gaudio, Mike Doyle as music producer Bob Crewe, Johnny Cannizzaro as Nick DeVito, Donnie Kehr as Norm Waxman, Jeremy Luke as Donnie, and Joey Russo as Joe Pesci.

The name John Lloyd Young also seems to pop up every time this movie is mentioned as someone who the producers and Eastwood himself are eyeing for the lead role of Frankie Valli. Young was the original Valli in the Tony Award Winning Broadway version of Jersey Boys and it’s his voice you will hear on the original cast soundtrack. Another falsetto contender was seemingly thrown in to the pot recently when we then heard that the West End’s original Frankie Valli, Ryan Molloy, was also “in talks” about playing the role. It would be a smart move on behalf of the movie makers to give one of these men the part, and my reason for saying this is as follows: The initial audience for this film is most likely going to be fans who have seen the show, possibly multiple times, in either London or New York, so, if the standard of whoever is eventually cast does not at least match, or exceed, Young or Molloy, there may well be some very unsatisfied fans and consequently some unhappy box office numbers.

In a recent BBC Radio 2 interview with Steve Wright, Molloy, who, as it happens, holds the record for the longest serving lead in the West End, said: “I am in the mix, but the fact that I’m in London… I think when you’re in New York and Broadway and you kinda got that, it’s easy for them to come and see you…” He has a point, but it would be a shame for the UK talent to miss out just because of an inconveniently placed ocean.

I eagerly await news of more casting, but until then, here’s the original Frankie Valli and the Four Seasons with Opus 17 (Don’t You Worry About Me).

 

 

 

Sophia Grace Brownlee Joins Cast of Into The Woods

Sophia Grace (R) and Rosie at the Kids' Choice Awards 2013. Photo by Just Jared. 

 

One half of the internet sensations Sophia Grace and Rosie is to join the likes of Johnny Depp, Meryl Streep, Emily Blunt, Chris Pine, and Anna Kendrick, in Rob Marshall’s movie adaption of Stephen Sondheim’s Broadway musical: Into the Woods.

The ten year old, who has recently released her own single Girls Just Gotta Have Fun, sailed to fame with her younger cousin Rosie, at the time aged 8 and 5 respectively, after their Mums took a video of them performing Nicki Minaj’s Superbass while dressed in their pink tutus and fluffy tiaras. They later appeared on the Ellen DeGeneres Show in the States and have become regular guests and celebrity correspondents on the show, all the while maintaining their princess image.

The excitable pair have noticeably gained confidence over the years and have clearly become favourite interviewers amongst Hollywood’s A-listers. The two can be seen here:

 

being their usual cheeky selves backstage at the MTV movie awards. Listen out during their chat with Star Trek stars Chris Pine and Zachary Quinto, as Sophia Grace gives a taster of what her voice can really do.

The story of Into the Woods is host to a number of recognisable fairy tale characters, and Sophia Grace will take on the role of Little Red Riding Hood. The movie is set to be released in December 2014.



Derren Brown: Infamous- New Alexandra Theatre

Psychological illusionist and mind bender extraordinaire, Derren Brown, has asked the audiences of his tour thus far to keep the contents of his show a secret, which has understandably left any reviews devoid of specific details. When you cast your mind back and remember that he is more than capable of making you believe that you now live in a post-apocalyptic world filled with ‘infected’, zombie-fied human beings, among other things, it is very easy to comply with his request. Not to mention, mere words would not really do justice to the thrill of experiencing this show for yourselves, and the respect that you’ll gain for Derren after seeing this show or anything else he has done will be so great, you just won’t want to give away what’s in store. What can be said, however, is that Infamous is as surreal, mind boggling, and truly fantastic as anything he has previously done, if not more so.

He has once again joined forces with director Andy Nyman, whose previous credits include Derren Brown: Enigma as well as a number of the television programmes Derren has under his belt. When it comes to delivering a spectacular show, these men are a force to be reckoned with. Infamous feels more intimate and understated than the previous live shows; the set is a lot more simplistic, although very effective, and Derren does go into some personal history that reveals him to be very grounded and very much human. The tricks themselves are just as astounding as you would expect, and they all lead up to an explosive finale that will leave you breathless with wonderment and mind-numbing confusion.

Derren has previously said that in recent years he has decided to move away from tricks that focus the audience’s attention completely on him, and instead enjoys facilitating an experience for another person. Indeed, the majority of this show revolves around audience participation and interaction, which amps up the adrenaline before the curtain is even raised as you wonder what’s going to happen if one of his colourful frisbees heads directly for you.  He uses this method of choosing ‘volunteers’ to deter people from thinking he plants actors or stooges in his audiences; it’s a great shame that he comes under fire from those who decide to accuse him of being ‘fake’. On numerous occasions, Derren reminds us that he does not have psychic powers and that he is very sceptical of supernatural claims. For me personally this makes him all the more impressive; to be able to work out the complex logistics of all of his tricks and to be able to fool a substantial amount of people, who don’t for one second take their eyes off you, over and over again, takes so much more intelligence and skill than would be necessary if ‘swish your wand Harry Potter style’ magic or mind reading actually did exist. What also becomes very apparent when you go to Derren’s shows is that, despite how different we all think we are, the human mind is consistently predictable and easily influenced, and it is his deep knowledge and understanding of these facts that helps him produce such an astonishing performance.

On top of all of this, it can never be repeated too often that Derren is a born showman; one minute he will be light and comical, the next he’ll be commanding and compelling. There is really nobody else out there like him, and there is certainly no other show like this one.

There is a moment in the show where Derren talks about how big claims should always be backed up with substantial evidence- the claim made here is that Derren Brown’s shows are some of the most memorable, electrifying, and overwhelmingly exciting productions you will ever see, and Infamous is the undeniable evidence.

Matilda the Musical Review- Cambridge Theatre

"Never do anything by halves if you want to get away with it. Be outrageous. Go the whole hog. Make sure everything you do is so completely crazy it's unbelievable...” – Roald Dahl

Tim Minchin and Dennis Kelly certainly don’t produce musicals by halves judging by the sensational hit that is Matilda the Musical. It is no surprise that this show stormed the 2012 Olivier Awards; the entire production is as exciting and intricate as the glorious set that greets the audience as soon as they step into the auditorium.

Roald Dahl’s story follows the first few precious years of the life of Matilda Wormwood, a little girl who adores stories and embodies the imagination and intelligence we all wish we had. She is underappreciated by her scheming, television obsessed family and is especially detested by the headmistress of her new school, the formidable Miss Trunchball. Along with her classmates and their kind teacher, Miss Honey, Matilda shows the adults of the world just how powerful a young mind can be, and how important it is to keep the child within us alive.

“Dahl’s love of language and the musicality of words, combined with his ability to make us laugh at subjects that are a little bit dark and scary, meant that for me, being asked to write songs for Matilda was like Bruce Bogtrotter being offered a jam doughnut.”- Tim Minchin. There really isn’t anyone more perfect to write the songs for such a story as this- Minchin’s lyrics are catchy without being cheesy, kid friendly without being condescending, and moving without being too severe. The story has been made even more invigorating by Peter Darling’s outstanding choreography, which all the cast execute with an abundance of energy and precision.

Four young ladies shoulder the responsibility for the lead role, and this particular night Matilda was portrayed by Christina Fray. For such a small girl to demand the attention of a huge audience takes a lot of talent and stage presence, and the fearless Christina has no trouble with keeping everyone captivated. Her Matilda is mature but spritely, and her voice is faultless. Michael Higgins as Bruce Bogtrotter is also a memorable performer, and almost had the audience on their feet during the song ‘Revolting Children’. David Leonard as Miss Trunchball is an example of genius casting; although a male playing a female character sounds pantomimic, Leonard’s portrayal is masterful and domineering, yet maintains the ability to make the audience laugh at will.

From Paul Kieve’s innovative illusions to the outrageously fun set designs and hair styles, Matilda the Musical is an unstoppable theatrical force. Thoughtful, delightful, and mischievous, it is the best show for the young and the young at heart.  

Les Misérables

The musical masterpiece that is Les Misérables has finally been immortalised on film in an equally staggering portrayal directed by Oscar nominated Tom Hooper. In the words of prison guard Javert, prisoner 24601’s time is up and his parole has begun. Cue 150 minutes of turmoil, battles for survival, love, sacrifice, some stellar renditions of the musical’s well-known classics, and just wishing you knew the reason why Gavroche, a Parisian boy, has a notably cockney accent.

The story, based on Victor Hugo’s hefty novel of the same name, primarily follows ex-convict Jean Valjean (Hugh Jackman) as he sets out to be the best possible version of himself. In the meantime, Javert (Russell Crowe) is on a relentless man hunt because, by going on the run, Valjean has broken the rules of his parole. Despite becoming Mayor of Montreuil, the former prison mate does not ignore the needy and unfortunate; from the moment he promises a desperate mother called Fantine (Anne Hathaway) that he will look after her child, the rest of his life is dramatically changed. The second half of the film also involves a tumultuous student uprising in Paris, and one of the most exhilarating finales I’ve ever experienced outside of a live theatre show.

Jackman was even better than I anticipated; his storytelling through song was second to none. His fellow Oscar nominee Anne Hathaway was also extraordinary and her Fantine will break the hearts of any who are exposed to her rendition of the iconic, I Dreamed a Dream. As for Russell Crowe…at least when the film comes out on DVD we have the luxury of volume control. Having said that, he did have moments where the singing ability took a backseat and I was just too impressed with his acting performance to care which notes he was attempting to hit. Put it this way, I doubt you’ll find his vocals anywhere near as bad as Monsieur Brosnan’s in the Mamma Mia movie.

It was fantastic to see cameos from original Les Mis legends such as Colm Wilkinson, who originated the role of Jean Valjean on stage in London back in the 80s. Speaking of ‘back in the day’, Hooper’s decision to have the cast sing live for every take, rather than dubbing their pre-recorded voices over the top, has not been used in film since around the 1930s and it really worked in this movie’s favour. The spontaneity of the acting choices made whilst singing live produced more raw and honest performances, just like those we come to expect in a professional stage production, especially when Eddie Redmayne sang ‘Empty Chairs At Empty Tables’ and whenever Hugh Jackman opened his mouth. This approach also benefited the comedic timing of the disgustingly bizarre yet uproarious Thénardiers (Helena Bonham Carter and Sacha Baron Cohen).

I will undoubtedly be making another trip to see this master class in performing and film making. Les Misérables is a must see, for both life long fans of the musical and those who are new to this timeless story.

Response to David Sexton

David Sexton: How can anyone who loves music enjoy musicals? 

Original article-  http://www.standard.co.uk/comment/comment/david-sexton-how-can-anyone-who-loves-music-enjoy-musicals-8445520.html

Sexton’s article header is clearly a rhetorical question, but as a fan of musical theatre, otherwise referred to ever so eloquently by Sexton as a “poor sap”, I am obviously too intellectually inferior to understand this and have therefore written him an answer.

While the majority of us who write about theatre aim to give fair and balanced opinions, Sexton feels that he and his army of musical theatre haters have been under represented, and so he has written a rather baseless and misinformed article formulated around the argument that acting, singing, and God forbid, dancing all at the same time is “embarrassing and stupid.” Those who dare to appreciate the years of hard work and dedication that go into a musical can only be described as “freaks”, so Sexton says.

I find watching a musical an immersive and exciting experience. The standard of performance on professional stages can be breathtaking, and only comes from genuine talent that has been shaped by years of training. Bearing in mind these performers are on stage almost every night and are expected to deliver the same standard each time, I would consider them just as impressive if not more so than the recording artists of today who are hardly ever required to do this. Singing and dancing at the same time may “repel” the likes of Sexton, but the stamina required is at a level a lot of us spend our lives trying to reach and never do. Of course there are those who don’t enjoy musicals, and they are quite within their rights to dislike it, but what is unprofessional and unnecessary is to insult those who are equally within their rights to enjoy this harmless form of entertainment.

Where Sexton reveals his lack of thorough knowledge of the performance industry is when he writes that the big musicals, claiming Les Misérables to be the notable offender, have “wallowingly melodramatic plots”, and later writes that anyone over the age of five with any taste cannot possibly enjoy the contributions of Andrew Lloyd Webber. Many will know that the plot of Les Misérables is based on a classic novel written by Victor Hugo, and so Sexton’s criticism actually relates back to the original literature rather than the musical adaptation by Alain Boublil and Claude-Michel Schönberg. In fact, a considerable number of the musicals that are currently doing well in both the West End and on Broadway are based on literature (Wicked, Matilda), or film (The Lion King), or a true story (Jersey Boys), so Sexton is in fact degrading a whole host of different and, I think it would be fair to say, hugely popular art forms. He may find musical theatre “idiotic”, but a bit of background research into the subject before making a comment wouldn’t go amiss.

As for ALW’s contribution to the industry, let us use Phantom of the Opera (another musical based on previously written literature­) as the example. This musical has been running in the West End now for over 25 years… not bad considering it is apparently only the toddlers and the tasteless who are going to see it. For a show to last that long, each performance needs to be almost if not completely sold out in order to raise enough money to keep it running. I would be interested to hear Sexton’s reasoning for why people would be filling the theatres and spending their hard earned cash on shows such as this if they don’t actually enjoy them.

Sexton claims he would rather endure root canal treatment than sit through a musical, in which case I welcome him to all the dentistry operations he can imagine and suggest he write articles on them instead, rather than brandishing his ignorance of musical theatre and mindlessly attacking a highly successful and appreciated part of our culture.

Loserville Review- Garrick Theatre

'Pinch me, is this real?’ Song writer James Bourne, along with writer/composer Elliot Davis, have turned Son of Dork’s debut album, Welcome to Loserville, into a fun, geeky, and electric new musical. Set in the 70s, Loserville celebrates the high school underdog, the teenagers who have all the weird and wonderful ideas but are mocked and shunned by the other kids. Michael Dork, (Aaron Sidwell) along with his best friends and potential first ever girlfriend, Holly (Eliza Hope Bennett), set out to change their status with a revolutionary idea- electronic communication.

It would be unfair to merely disregard this musical as a new manifestation of the T.V. show Glee. Yes it shares similar themes, but where Glee tends to, on occasion, shoe-horn relevant tunes into the story, Son of Dork’s music is seamlessly woven with a clever and refreshing script, showcasing the anecdotal quality of the tunes and encouraging the fluidity of the production overall. The show isn’t perfect, but it does not deserve to have its run in the West End cut short.

The choreography was executed with euphoria-inducing energy and the props were simple but playfully utilised by a well-rounded cast. Strong but seemingly effortless performances were given by all, and their vibrancy was reflected in the colourful lighting design we were treated to throughout the show.

What was encouraging to see was the sea of fresh new faces amongst the actors. As well as all of its other delights, Loserville afforded new names the opportunity to have their time in the spotlight. If the future of theatre lies in the hands of this talented group, then colour me satisfied.