R67H6BY5N6RU for deletion later
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I posted to theatrebreaks.co
technorati claim
http://theatrebreaks.co/2935/technorati-claim/
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November 26 2011, 6:48am | Comments »
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I posted to bridgetjones.org.uk
Hello world! It’s Bridget Jones the Musical!
http://www.bridgetjones.org.uk/hello-world/
Welcome to Bridget Jones The Musical Information and community blog on WordPress. This is our first post, just setting up shop here full of anticipation for a fantastic new show coming next year with Sheridan Smith as Bridget Jones (unconfirmed) and songs by Lily Allen.
August 1 2011, 11:36am | Comments »
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I posted to theatrebreaks.co
West End Theatre Stars in Official Love146 Flash Mob – Can you see me?
http://theatrebreaks.co/784/west-end-theatre-stars-in-official-love146-flash-mob-can-you-see-me/
Check out this video on YouTube:
Can you see Rachel Tucker and other London West End theatre stars in the flashmob?
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May 20 2011, 7:23am | Comments »
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I posted to theatrebreaks.co
Article: Chicago closes at London’s Cambridge Theatre 27 Aug 2011
http://theatrebreaks.co/783/article-chicago-closes-at-londons-cambridge-theatre-27-aug-2011/
Chicago closes at London’s Cambridge Theatre 27 Aug 2011 http://www.londontheatre.co.uk/londontheatre/news/my11/chicago20116066.htm Chicago, will close at the Cambridge Theatre on 27 Aug 2011, to make way for the RSC production of Matilda The Musical. The show may transfer to another West End venue: A press statement says, “We are hopeful that Chicago’s record breaking 14-year run in the West End will continue.”
(via Instapaper)
If Chicago does find another London West End theatre then it will be a good opportunity to give the show a well overdue makeover. Andy Roberts
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May 20 2011, 6:20am | Comments »
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I posted to theatrebreaks.co
Proof – review
http://theatrebreaks.co/511/proof-%E2%80%93-review/
Theatre review of Proof. New Vic, Newcastle-under-Lyme
This article titled “Proof – review” was written by Alfred Hickling, for The Guardian on Sunday 24th April 2011 16.44 UTC Two shows in, and already the New Vic’s repertory season is reaping the benefits of a permanent ensemble. Actors with relatively little to do in the Rivals now appear in David Auburn’s intellectual teaser about madness and mathematics. Auburn’s 1998 drama was inspired by a passage from the memoir of the mathematician GH Hardy, who observed that “in a good proof there is a high degree of unexpectedness, combined with inevitability and economy”. Hardy was writing about hard sums, though he might have made an astute drama critic. Catherine’s college career has been interrupted by the necessity of caring for her late father, a burned-out professor of calculus whose genius became a torment. An eager grad student is now scouring the professor’s notebooks for any lingering flashes of insight. Among the gibberish is what seems to be one final, perfect proof. Only it doesn’t appear to be the professor who has written it. If there’s a flaw in Auburn’s reasoning, it’s that it simply becomes impossible to believe that the calculation can fulfil claims to be the theoretical link that will bind all branches of mathematics together. But Gwenda Hughes’s quiet, meditative production draws performances of impressive depth from Michael Hugo as Hal the endearing geek, and Emma Noakes as the troubled Catherine, clearly haunted by the possibility that pursuing her father’s methods may lead towards his madness. Above all, it’s a chance to appreciate some fine acting in a complex, cerebral play that might be difficult to programme in isolation. There’s life in the old repertory system yet, and here’s Proof.
guardian.co.uk © Guardian News & Media Limited 2010 Published via the Guardian News Feed plugin for WordPress.
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April 25 2011, 6:20am | Comments »
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I posted to theatrebreaks.co
The Wizard of Oz – review
http://theatrebreaks.co/260/the-wizard-of-oz-review/
The Guardian’s Wizard of Oz Review after the opening night on March 1st 2011 at the London Palladium. For more Wizard of Oz reviews see the Wizard of Oz London blog or the Wizard of Oz Facebook page.
This article titled “The Wizard of Oz – review” was written by Michael Billington, for The Guardian on Wednesday 2nd March 2011 00.53 UTC The Victorian theatre of spectacle is alive and well, and residing at the London Palladium. But although this adaptation of the Frank Baum book and the 1939 movie, with additional songs by Andrew Lloyd Webber and Tim Rice, is quite an eyeful, it’s somewhat lacking in humanity. I came out feeling blitzkrieged rather than charmed. The star of the show is undoubtedly the set and costume designer, Robert Jones. The Kansas cyclone that whisks Dorothy into a dreamworld is evoked through vorticist projections (the work of Jon Driscoll) that betoken chaos in the cosmos. The Yellow Brick Road is on a tilted revolve from inside which poppyfields and labyrinthine forest emerge. The Emerald City is full of steeply inclined walls suggesting a drunkard’s vision of the Chrysler Building lobby. And the Wicked Witch of the West inhabits a rotating dungeon that might be a Piranesi nightmare. Not since 19th century Drury Lane melodramas can London have seen anything quite like it; one has to admire the director and co-adaptor, Jeremy Sams, for marshalling the effects. But the story and the people get swamped. Danielle Hope shows a natural, easy presence as Dorothy, but can’t hope to compete with the scenery. Even Michael Crawford, playing both Professor Marvel and The Wizard, seems slightly subdued, and misses a trick by not highlighting the latter’s resemblance to PT Barnum whom he once played. Only two of the cast transcend the spectacle. Hannah Waddingham makes the Wicked Witch a pointy-chinned ogre who at one point flies over the audience’s heads with an elan that Spider Man might envy. David Ganly notches up a first by making the Cowardly Lion explicitly gay and announcing “I’m proud to be a friend of Dorothy.” Of course, there are the songs; it’s good to be reminded of such classics as Over The Rainbow, We’re Off To See The Wizard, and Follow The Yellow Brick Road. The additions by Lloyd Webber and Rice are also perfectly acceptable. Dorothy is given a good plaintive opening number, and Red Shoes Blues, sung by the Wicked Witch, has a pounding intensity. But, as a film scholar remarked to me, the movie was a story with songs rather than a full-blown musical. That delicate balance has been changed, and an essentially simple fable about the importance of individual worth seems overblown. I suspect in the end the show will be critic-proof and people will go to see both the winner of the TV talent contest and to luxuriate in the sumptuous visuals. But the paradox of the evening is that it suffers the same dilemma as the Tin Man: it might have been so much more if it only had a heart.
guardian.co.uk © Guardian News & Media Limited 2010 Published via the Guardian News Feed plugin for WordPress.
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March 5 2011, 2:43pm | Comments »
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