Apr 222012
 

In today’s Sunday Times, - ex-Royal , and cur­rently tip-tapping in the West End — talked about the places where he and his elder brother, Simon, grew up. Until their teens they lived in a ‘poky’ flat in Tooting.

The flat was much too small for two ener­getic boys with a musi­cian father who had instru­ments, key­boards and sheet music every­where. Music was so much part of our lives. We used to sing in choirs when we were seven and eight years old.

But when he was thir­teen the fam­ily moved to a house in Nor­bury. Just as well since the grow­ing boys had star­ted to dance:

Sud­denly, I had lots of space, which gave me the oppor­tun­ity to make up routines for us. I cre­ated dif­fer­ent cho­reo­graphy and spent hours mim­ick­ing and Gene Kelly. They were our idols when we were grow­ing up. We were also into Michael Jack­son and . We learnt most of their routines. I was usu­ally Michael and Simon was .

His father’s pas­sion for music was contagious:

I had a record player in my room. Simon had a TV. I listened to Vaughan Williams’s The Lark Ascend­ing, the soundtrack from Zeffirelli’s Romeo and Juliet or Bach violin con­cer­tos. Through the walls, I could hear that Simon was next door, glued to the TV.

By the time he was six­teen his Madonna posters had given way to images of his bal­let idols:

My bed­room became a shrine to the dan­cers who were my her­oes — Anthony Dow­ell, and Mikhail Bary­sh­nikov. I added lots of dan­cers from the Kirov, too, because that year I was lucky enough, as a stu­dent, to spend a sum­mer with them at the Royal Opera House.

Adam Cooper is cur­rently star­ring in Singin’ in the Rain at the Palace Theatre in Shaftesbury Avenue.

Mar 132012
 

Pro­du­cers and have set Academy Award-winning writer to pen the screen­play adapt­a­tion of Stephen Sond­heim and Arthur Laurents’ Tony Award win­ning musical, , which Streis­and and Sil­ver are cur­rently devel­op­ing for Uni­ver­sal Pic­tures. Streis­and will por­tray “Momma Rose” in the new ver­sion, her first musical film since Yentl in which the Oscar-winning act­ress and iconic singer starred, pro­duced, co-wrote and dir­ec­ted in 1983.

Fel­lowes won the Ori­ginal Screen­play Academy Award for Gos­ford Park and most recently earned the Emmy and Golden Globe for cre­at­ing and writ­ing the acclaimed min­iser­ies, Down­ton Abbey. His musical theatre work includes adapt­ing the script for Disney’s stage pro­duc­tion of Mary Poppins.

Gypsy has exhil­ar­ated audi­ences on both stage and screen since its first Broad­way run in 1959 with Ethel Mer­man. Since then, the com­pel­ling story based on the mem­oirs of the fam­ous striptease artist, Gypsy Rose Lee, has spawned numer­ous rein­carn­a­tions includ­ing the 1962 film star­ring Ros­alind Rus­sell and Nat­alie Wood, four Broad­way reviv­als, as well as a made-for-television movie.… con­tinue reading

Feb 252012
 

Today is car­ni­val day in : Sabato Grasso. It comes later than all the other car­ni­val cel­eb­ra­tions, and this year was blessed with a 20°C sunny day which gave the tour­ists a good excuse to get out their shorts and sandals.

As car­ni­val week also coin­cides this year with a fash­ion week, Mil­ano Moda Donna, the streets were crowded, especially out­side one of the strangest cat­walk shows Milan has seen this week. The pro­du­cers of the musical cap­it­al­ised on the big crowds to give Oscar-winning designer ’s cos­tumes an air­ing out­side the walls of the theatre. The crowds loved it…

Priscilla, La  -Teatro Ciak, Milancon­tinue reading

Feb 252012
 

’s 1994 film “Bul­lets Over ” explored the trav­ails of an aspir­ing play­wright strug­gling to bring his cre­ation to the Great White Way. And now, in a pos­sible case of art imit­at­ing, um, art, Allen is work­ing on a musical adapt­a­tion of the film, with a première tent­at­ively slated for 2013, repor­ted Reu­ters.

Allen will write the book for the musical, which will fea­ture exist­ing music from 1920s, in which “Bul­lets Over Broad­way” is set, said pro­du­cers and Letty Aronson.

The ori­ginal film, which starred John Cus­ack, , Chazz Pal­min­teri and Jen­nifer Tilly, was nom­in­ated for seven Academy Awards, and won one — in the Best Sup­port­ing Act­ress cat­egory, for Wiest’s por­trayal of alco­holic act­ress Helen Sin­clair. The “Bul­lets Over Broad­way” adapt­a­tion is the latest devel­op­ment in Allen’s decades-long rela­tion­ship with Broad­way, start­ing with 1966’s “Don’t Drink the Water,” which Allen wrote.

Other Broad­way pro­duc­tions involving Allen include 1969’s “Play It Again, Sam” and 1981’s “The Float­ing Light Bulb.” In 2011, his one-act play “Hon­ey­moon Hotel” was included in the lar­ger piece “Rel­at­ively Speak­ing,” which Schlossberg and Aron­son — Allen’s sis­ter — also pro­duced.… con­tinue reading

Jan 152012
 

Act­ors from the first stage pro­duc­tion of are gear­ing up for a revolt against the com­pany behind the ori­ginal cast record­ing, after dis­cov­er­ing they will no longer get roy­alty pay­ments, says The Inde­pend­ent.

Mem­bers of the ori­ginal cast, includ­ing Michael Ball, who played Marius in the 1985 pro­duc­tion, have just learnt that they will no longer receive roy­al­ties from the soundtrack record­ing, which has sold hun­dreds of thou­sands of cop­ies in the UK alone. Cast mem­bers say they were unaware a con­tract clause stip­u­lated roy­al­ties would only be paid for 25 years.

Equity says it will take up its mem­bers’ cause and is seek­ing legal advice. The con­tract was based on a tem­plate agree­ment reached between industry body the BPI on behalf of record com­pan­ies and Equity.

, which made the record­ing, insists that it has done noth­ing wrong and has simply abided by the terms of the record­ing con­tract agreed by Equity.… con­tinue reading

Jan 152012
 

will dir­ect a new musical, , based on the children’s book of the same name co-written with her daugh­ter, . Good­speed Music­als will put on a devel­op­mental pro­duc­tion of the show from November 8.

Andrews dir­ec­ted a ver­sion of The Boy Friend for Good­speed in 2005, but this is her first time over­see­ing a new show. and Marcy Heisler will write the music and lyr­ics, Hunter Bell the book. (“God­spell”) will do the cho­reo­graphy. Sets and cos­tumes will be designed by Tony Walton, who is Andrews’s ex-husband and the father of her daugh­ter. He also did the illus­tra­tions for the book, which came out in 2006.… con­tinue reading

Jan 152012
 

‘s latest Broad­way ven­ture is end­ing earlier than he hoped. Producers of “On a Clear Day You Can See Forever” said that the musical will play its final per­form­ance on Janu­ary 29. When it closes, it will have played 29 pre­view and 57 reg­u­lar performances.

The pro­duc­tion has songs by and that made its debut on Broad­way in 1965 and was adap­ted into a 1970 film star­ring and . The musical got mostly poor reviews when it opened last month. Last week, it took in $584,711 at the box office, or only about 42 per­cent of its poten­tial.… con­tinue reading

Jan 142012
 

Rebecca Caine was born in Toronto, Canada and stud­ied at the Guild­hall School of Music, London.

Uniquely, her career has been divided between Opera and Musical Theatre, mak­ing her West End debut at 19 in the role of Laurey in ! She then sang the role of Eliza in My Fair Lady on the National tour. While mak­ing her debut at Glyn­de­bourne as Amor in L’Incoronazione di Pop­pea, she was asked to join the where she cre­ated the role of Cosette in Les Mis­ér­ables. After a suc­cess­ful West End run she joined the ori­ginal cast of to play Christine oppos­ite Michael Craw­ford. She then returned to Toronto to repeat the role in the Cana­dian première of Phantom. Dur­ing her run in Toronto she joined the Cana­dian Opera Com­pany to make her highly praised North Amer­ican debut in the title role of Lulu.

con­tinue reading

Jan 052012
 

Spider-Man: Turn Off the Dark, writ­ten by ’s and The Edge, has taken the highest single-week tak­ings of any show in Broad­way history.

The musical, which was plagued with prob­lems from its incep­tion, took $2.9m (£1.8m) over nine per­form­ances last week, accord­ing to The Broad­way League. The Edge said it was a “proud day” for every­one who has been involved.

The show, which cost $75m (£48m) to make, is the most expens­ive Broad­way show to be produced.

Bono said,

Things did get chaotic and messy after our pro­du­cer Tony Adams died. But this week’s news has us all giddy again and we are rais­ing our glasses to Tony, to our indefatig­able cast, crew, cre­at­ive — and production team.”

Co-producer admit­ted he and his col­league, fel­low pro­du­cer , “came into a very dif­fi­cult situ­ation” when they signed up.

We’ve changed the team. We added play­ers when we needed to.

con­tinue reading

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