“When Angels Fall,” at Peak Performances, and “Non Solus,” at the Brooklyn Academy of Music, blend circus with dance in feats of perfect equilibrium.
In “Sea Wall/A Life,” at the Public Theater, a pair of monologues gives the two stars ample opportunity to shine and mourn.
The writer-actress behind the wild, disorienting comedy of “Fleabag” and “Killing Eve” is bringing her sneak-attack humor to New York.
You may not be familiar with the writing duo Webborn & Finn, but that’s all about to change. Their first full-length musical, The Clockmaker’s Daughter premiered in London in 2015 and went on to critical acclaim, multiple sell out runs, and eleven award nominations to date.The original musical faerytale has released a concept album featuring a star studded cast including Christine Allado (Hamilton, In The Heights), Fra Fee (The Ferryman West End & Broadway, Les Misérables West End & film), Ramin Karimloo (Anastasia, Phantom of the Opera), Hannah Waddingham (Kiss Me Kate and HBO’s Game of Thrones), Matthew Croke (Aladdin,Funny Girl), Lauren James Ray (Wicked, Putting It Together Hope Mill Theatre) and Graham Hoadly (Fame National Tour, Guys & Dolls Kilworth House). The Clockmaker’s Daughter is set in the fictional Irish town of Spindlewood and has what can be described as a modern folk score. While there are elements of folk music interwoven throughout the songs, they also vary widely in style to include everything from ballads and patter songs. The album opens with “The Turning of the Key” which is the strange ritual the townsfolk take part in every year as spring unfolds. This first track sets the stage for the story to be told and conveys a feeling of community as the talented ensemble is heavily featured. The cast was expertly selected and each one gives a brilliant vocal performance. Christine Allado is both inspiring and haunting in the portrayal of her character’s journey. In “A Story of my Own” she delivers a classic musical theater ‘I want’ song with grace and power. There is a duality to her character and she effortlessly conveys both naivety and righteous anger. Fra Fee’s character is an outlier in the community and his songs have a slightly different melodic quality to them. In many of the tracks his status as an outsider allows the listener to see through his eyes and be lead by him. His charm makes him an ideal narrator, especially on “Spindlewood.” A tragedy has befallen Ramin Karimloo’s character which is the catalyst for the musical’s events. “You’re Still Here” has a dark tone and he pours emotion into it that reflects the depth of his loss. Conversely, his voice soars with hope on “Impossible.” As both a villain and a source of comic relief, Hannah Waddingham’s character has an essence of Mrs. Lovett. She delivers a flawless and humorous performance of “A Modern Modiste,” while being equally adept at her sinister vocals on later tracks including “A Town Meeting.”Webborn and Finn have created a truly incredible book and score. The lyrics are endlessly clever which keep the listener engaged throughout. There is a sense of magic in all of the songs befitting of the modern day fairy tale. Each track is evocative and arranged beautifully. Multiple musical elements including staccato notes and varied time signatures are used creatively to convey the feeling of a ticking clock. This is used throughout the score to signify the passing of time, heighten anxiety, but most effectively, it imparts the mob mentality and routine of the town that resists disruption. The album is a masterclass in storytelling through song.With rich orchestrations, compelling lyrics, and the voices of some of the West End’s biggest stars, The Clockmaker’s Daughter has all of the key ingredients for an excellent and engaging concept album. After listening to it just once I am really intrigued to see what the future holds for this unique and spellbinding new musical. Review by Laura TalbotRating: ★★★★★
This London adaptation of the Oscar-winning satire, starring a misused Gillian Anderson and Lily James, is like a horror movie without a pulse.
Since you provide the content for this group’s delightful hip-hop musical improvisation, you really have to lend them your ears (and phones).
London’s Almeida Theater has become a home away from home for the New York playwright Anne Washburn. Next: a very American comic drama called “Shipwreck.”
Cate Blanchett, Laura Linney and Katherine Parkinson are three heroines in search of elusive selves in plays by Martin Crimp, Rona Munro and Laura Wade.
Loy A. Webb’s tear-struck thesis play starts with an engagement and swerves into the territory of sexual-assault trauma.
Performers and stage managers who help develop hit shows will share in the riches following an agreement reached Friday between their union and producers.
Jennifer ButlerSo, you want to work in professional theatre? That’s a question that I have been asked many times but didn’t always know how to answer. And up until recently, was also something that I didn’t realize that I really wanted. Mostly because for me, doing theatre at any level besides community was just a pipe dream. I used to say that someday when I am working on Broadway but didn’t believe it. I never went to school for theatre. I just enjoyed seeing shows and wanted to get involved. So, I found my local community theatre, and that is when my life changed for the better. I said after my first production that I did not know how it was going to happen, but I was determined to find someone or somewhere who would pay me to do what I loved. Because I finally had found where I belonged.Fast forward four years where I had been doing show after show with a few different theaters. I was ready to see what the next level might be like, but I was not sure how to do so. On a whim, I saw and applied for a props supervisor freelance position at a professional theatre company in Boston. Time goes by, and I hear nothing, so I figured it wasn’t meant to be. So, I get on a plane to Scotland for the Edinburgh Fringe Festival, and to do some traveling (where among other places) I went to the Fairy Myth Bridge. Later that day I receive an email asking if I was still interested in the props supervisor position as they were looking for someone for the first two shows of the season. When I returned from my trip, I interviewed for the position and was offered the job.Here was my chance, I thought. I don’t know if this is what I wanted but here was my chance to find out. I took a risk and quit my day job because I needed to know if this was what I wanted and to be able to give the play my full attention. I knew if this went well, it could lead to more opportunities. Either way, whether I decided to continue in professional theatre or do the play and be done, I would have done an excellent job. But I thought here is my chance to give it a go. Doing the show was a lot harder than I expected but was so rewarding and to boot, I was getting paid to do theatre! That’s a sentence that I never thought that I would utter. As this show was opening, I get offered another production which was a lot harder than the first but I still was enjoying what I was doing, the people that I was meeting, and the place that I was working. Next thing that I know, the second show leads me to a third show with a different theater company and I couldn’t believe that my pipe dream was happening. So, maybe it was Scotland and the Fairies? Or perhaps it was my design work? Or my recommendations? But, whatever the reason, and however it happened, a professional theater hired me, and I don’t plan on looking back. After testing the waters a bit, I now know that yes, this is something that I want to do for as long as possible.
Stage adaptations of books, films and television shows are nothing new and have been met with mixed success. For every Full Monty there’s a Shawshank Redemption. This new production of Benidorm follows sitcom successes such as Dinnerladies and Heartbeat and hopes to win the hearts of first time fans of the show and perhaps generate appetite for a TV comeback.Pleasingly, many of the faces from the show appear in this show and are warmly greeted by the loyal audience who love the familiarity of their favourite characters in front of them.It’s a strong cast too with Janine Duvitski’ particularly impressing as loud, irritating (but very funny) hotel regular Jacqueline. Sherrie Hewson is a commanding presence as hotel manager Joyce Temple Savage while Adam Gillen and Tony Maudsley are audience favourites as comedy duo Liam and Kenneth.There genuinely isn’t a misplaced cast member, with the supporting actors doing a great job against their well-known counterparts and helping drive the pace of the show and keep the storytelling lively. Tricia Adele-Turner has a tricky role of stuck up guest Sophie, but executes this perfectly, making us really feel for long suffering husband Ben played by Bradley Clarkson. This is a real ensemble piece though with everyone working hard and shining in equal measure.Interestingly in writer Derren Litten’s programme notes he recalls a time when he wrote a pantomime and how tapping into this helped overcome his bout of writers block when approaching Benidorm. The show really does have a feel of a good panto about it; easy to watch, stock characters, well placed musical moments and some great gags. It’s a script packed of laughs and pace.There was also a surprisingly good use of movement throughout with all thecast taking a role in this and again, this really helped keep the pace of the show lively. The humour is gentle and easy to follow and the slickness of the show made this a really enjoyable 2 hours. Designer Mark Walters has done a great job with a flexible and fluid set design allowing the various locations of the hotel Solanda to come alive. This was well complimented by the movement and great characterisation. This is definitely a must-see for fans of the ITV show, but a really fun night out for newbies like this reviewer. It’s fluffy and silly but a great bit of escapism and a real crowd pleaser.Review by Andy Edmeads Rating: ★★★★
Whether he’s capturing David Lee Roth or Bed-Stuy street style, Montana Levi Blanco’s secret: an anthropological attention to detail and “amazing aggressive shopping.”
Eden Espinosa is well known in the theatre community as one of the most celebrated “Elphabas,” having been part of the Broadway, San Francisco, and Los Angeles productions of the acclaimed musical Wicked. Espinosa’s latest album, Revelation,is comprised of all original material and Eden has written eight of the ten tracks herself. Although this may be her first experience writing music, she clearly has a talent for telling provoking stories through her songs.I would be hard pressed to describe the genre in which Revelationfalls. The album has a unique sound that is a combination of pop, rock, and soul, with elements that are reminiscent of the music of the 80’s and 90’s. The style suits her voice perfectly and shows her versatility as a performer. At no time while I was listening to the album did I think that this was a musical theatre voice trying to fit itself into an ill-fitting, cookie cutter pop style. The central theme running through the album is about reclaiming your power and finding your voice. Going through each track takes the listener on a journey of hurt, acceptance, perseverance, and healing. It seems that a personal experience influenced the lyrics as the level of emotion and strength that comes through each song is truly moving and inspirational. Both the highs and lows of the emotions conveyed by the lyrics are expertly complimented in the music. “Deadly Sin” starts the album on a dark note with feelings of weariness and pain coming through with dramatic orchestrations and the use of oppressive techno elements. “Bed for 2” imparts a similar level of angst and fear of being alone with a decidedly rock vibe. Conversely, ballads like “Master of my Life” and “The Answer” rely on simpler melodies that set a reflective tone and project vulnerability with an underlying strength. Another highlight of the album, “Keep On,” conveys the essence of personal courage and believing in yourself. It carries a similar message to the likes of Katy Perry’s “Roar,” but with far more sincerity and none of the clichés. If you’re on the lookout for a new personal anthem, your search is complete.Eden Espinosa’s Revelationis a rousing and emotional journey of personal discovery that reminds you just how powerful music can be. If this is only her first venture into song writing, I can’t wait to see what lies ahead!Review by Laura TalbotRating: ★★★★★
Michelle L. BarracloughPart 4“You win some, you lose some”--dealing with acceptances and rejectionsBy now, you’ve completed some auditions and may still have a few more to come. Depending on the school, you may have already received acceptances and rejections. If this process didn’t seem real to you yet, the moment is about to arrive. Don’t worry--I’ve got your back on this, parents. You and your student will survive and thrive, although you’re probably both going to have some scars to prove it.I got in!Congratulations! I hope you’ve had some good news from schools after all of the hard preparation you did. If you had a good balanced list of schools that you applied to, you should be seeing some acceptances. Remember that at least one of the schools your student applied to should be a ‘safety’ school, which means no audition was required for admittance to their theater program. Your student may shrug off the safety school acceptance--that’s fine, but it’s important to keep the end goal in mind here. What’s that again? Oh, yeah--getting into the best quality program available to you! A special word on acceptances--read carefully. Many schools will send out an academic acceptance to the college/university, and then send a separate letter regarding acceptance into the theater program. So your student can be admitted to the school based on their grades, but not necessarily to the theater department, where acceptance hinges on a successful audition. Another strange experience we had was with financial aid. Some schools mailed financial packages before we knew the result of the audition. One school mailed the financial aid letter arrived only a few days after my student’s audition, which was misleading because it seemed as if an acceptance was forthcoming. We got very excited since it looked like an acceptance was going to follow, and then...it did not. (I sincerely hope that school reconsiders their admissions procedures.) Another school sent (in this order): a waitlist letter for the theater department, then a rejection to the theater department, and then an acceptance to the university overall after the May 1 commitment deadline! Some people will blame these miscommunications on a large school environment, but one of these places was large and one was very small, so it didn’t seem that was the case. In the acceptances, you will need to start considering the financial impact this will have on you and your student. I hope you’ve had an honest discussion about this before the application process, because it may save some heartbreak later. I’ll admit that even with the schools that accepted my student, looking at that tuition amount was (and is) still daunting. I still sometimes consider this entire process one of the biggest gambles I’ve ever undertaken, and that includes my own decision to be a music performance major. Eventually I just had to take a deep breath and say to myself, “this is all going to work out somehow.” It might sound silly, but it helped me. Try it out for yourself. Most schools host an “accepted students day” sometime in the spring before the May 1 decision deadline. Visit the schools where you were accepted, even if you already have seen the campus previously. These visitation days often have more specific sessions for individual departments so it’s a great opportunity to really see that each school’s theater offerings in more detail. Your student should be looking for their ‘best fit’ school--and the place they will call home for the next four years. I was rejected at my top choice (and my 2nd, 3rd, 4th, etc.)Sigh. Let me sit next to you and give you cup of tea. Rejection just stinks. I’d love to come up with some really great wisdom to share here, but sometimes you just have to wade your way through those feelings. My student dealt with two rejections to schools she really had her heart set on within one week. That was ROUGH and it took a very, very long time to come to terms with. I wish we could have moved through that whole thing more quickly, but I could only deal with my own emotions. My daughter had to work through hers on her own. That doesn’t mean I wasn’t there to listen and support her, and there were many moments of frustration and miscommunication between us both. Some of the best advice I read (after the fact, of course) was to give yourself and your student time to grieve the rejection--but to give yourself a time limit on it. Three days was the example set in the article that I read. After that, you need to focus on the next thing. I wish I had read that advice a lot sooner. Not only would it have helped me a great deal when doing my own auditions when I was younger, but I think it would have helped me and my student navigate the rejections better. Argh! I was waitlisted! Now what?!This is another tough one we experienced. My daughter was waitlisted at a school that was very high on her list of choices. We waited it out as long as we possibly could. She emailed the department chair of the school and expressed her continued fervent interest in the school and asked if there was anything more she could do to further her application. She received a polite and honest response saying the waitlist is really a quagmire (his words) and the best thing to do was...wait. So we did. You have until May 1 to pay a deposit at any school--that’s what marks your official acceptance. In theater and music auditions, students are often the last among their peers to have an acceptance and make a decision about where they will attend. Our journey (part 4)Overall, my daughter auditioned at schools that were extremely competitive. She was not admitted to several of them, and was very disappointed about it. Her confidence was shaken but she knew it was decision making time. Plus, we were still waiting to hear from Waitlist University. My solution was going to lunch at Chipotle. Yes, I’m serious. We went out to lunch and talked through the admittances she did get as well as what to do about Waitlist U. She made the decision to attend a school that had a solid program, beautiful facilities, and an advantageous location. She was able to see that this school really was the best option for her in spite of feeling pretty beat up by the audition process. I think we mailed a deposit on April 25 of that year, only days before the official decision day. She got the official rejection from Waitlist U. two days after we paid the deposit at the other school, so I like to think that was a sign from the universe that we did the right thing. I should add here that for my daughter to come to that decision was a real ‘moment’. A lot of her judgement was being colored by her disappointment about the rejections, but she knew she had to put those feelings aside and make an important, well-informed decision without really knowing if it was the right one. But parents know that’s the way life works sometimes. So she made a mature decision in the face of those feelings. I think of it as a big life lesson, and I know it doesn’t really get any easier. Another bit of advice from the “I wish I knew then what I know now” department: you may want to consider how to express your emotions and journey to your family, friends, and social media. There certainly is a trend for documenting your audition journey on Facebook, Instagram, etc. If you and your child are both comfortable doing that, fine. Friends and family enjoyed cheering us on through those channels. However, I won’t lie to you--getting them to understand the rejections was a challenge. “But she’s so talented!” they would say, and “she’s going to get in everywhere she applies!” I knew that wouldn’t happen, but explaining that one was hard. You might want to consider how much you want to share and have some standard responses ready for the well-meaning folks: “It’s very competitive. It’s easier to get into Harvard than to get into a top musical theater program. She’s proud of the work she did and I’m proud of her efforts. She really gave this her all. I know she’s going to get into the right school for her and we’re all going to be so proud of her when she does.” It’s really hard to fathom this entire process until you’ve lived it. So I see you, parents and students--and I when I say I know exactly what you’re going through, I mean it. I’ll see you in a month for my final article in this series: getting the most from your college program. Hang tough--you’re almost finished. I know you can do this! Michelle Barraclough is an adjunct professor of music at a small college in the Northeast. She is a flutist and loves teaching, providing guidance for students, and performing, especially for musical theater productions or any large collaborative work. Her older daughter is a sophomore musical theater major. Both are happy to have survived the audition process and extremely grateful and satisfied with the outcome.
Underwriting the heart-rending “Everything Is Wonderful” has prompted a Baltimore couple to learn more about the car crash that killed their son.
“” is guaranteed to lift your spirits with songs and powerful messages of acceptance. Here are our top six moments from the show that give us all the feels. 1. Always follow your heart, but never forget your roots. Even though Charlie chooses not to follow the exact same career as his father, his dad eventually toasts to his journey and accepts that he should let Charlie discover his own path. “Shoes can protect a man’s journey, but only his heart can choose the path. And so a toast to our own Charlie. May you never fail to point your shoes back home.” Always chase your dreams, but never forget where you came from.2. One moment can change your entire life. As Charlie was struggling to follow in his father’s footsteps at his failing shoemaking factory, he began thinking he had no option but to close the business. Then came the phone call that would change Charlie’s fortune. After his first encounter with the spectacular drag queen, Lola, he realises there may be a major gap in the shoe market. Filling that gap could help him save his factory and jobs!“We may be facing the impossible. We may be chasing after miracles. And there may be the steepest mountain to overcome. But this is step one.”We all are rooting for you Charlie!3. Something can be made out of absolutely nothing. Just when things are looking bleak for the factory, with a little bit of luck and a little bit of leather, Charlie has made something special and unique. All that’s missing from the shoe is a heel. 4. We all have something in common.It’s not always all glitz and glam. In a lovely moment among glitter and drag, Charlie and Lola discover that they have more in common with each other than they originally thought. Even if it meant going against what their fathers wanted for them, they both decided to take their own paths in life. At the show, listen out for the beautiful song, “I’m Not My Father’s Son.” We’re crying, and you will be too. 5. You can change the world if you put your mind up to it. When Dom challenges Lola to a boxing match to prove he is a real man, Lola’s challenge in return is simple: Accept someone for who they are. This is a point that is brought up many times in “Kinky Boots”. Changing the world is as simple as changing your mindset. 6. Just be yourself. “Kinky Boots” is a show with a warm heart and an even warmer motto. “Pursue the truth, learn something new, accept yourself and you’ll accept others too. Let love shine, let pride by your guide...you can change the world if you change your mind!”There are many heartwarming moments throughout the entirety of “Kinky Boots”. Take a trip to the factory this season to see this sensational, award-winning show! Find as a gift this holiday season, or as a special treat for yourself to see this uplifting show.This article has been published in partnership with .
Katharine McPhee will make her West End debut starring as Jenna in the UK premiere of Waitress, having played the role on Broadway earlier this year. The Tony Award-nominated musical will begin preview performances on 8 February ahead of its official opening night on 7 March at London’s Adelphi Theatre. Currently playing its third year on Broadway, Waitresswill bring with it an all-female lead creative team – a West End musical first. Since finding international fame as a captivating singer on American Idol - Season 5, Katharine has become a successful recording artist, landing numerous songs and albums on Billboard’s pop, jazz, holiday and adult-contemporary charts in her native US. Her latest album of timeless American standards “I Fall In Love Too Easily” was released by BMG in 2017. As an acclaimed actress, she was the breakout star of the 2013 NBC-TV musical series Smash, Executive Produced by Steven Spielberg with music and lyrics by Marc Shaiman and Scott Wittman (Hairspray). She recently starred in the hit CBS dramatic series Scorpion.Waitress opened on 24 April 2016 at Broadway’s Brooks Atkinson Theater. Based on the 2007 motion picture written by Adrienne Shelly, Waitress was the first Broadway musical in history to have four women in the four top creative team spots, with a book by Jessie Nelson, a score by six-time Grammy Award-nominated singer-songwriter Sara Bareilles, choreography by Lorin Latarro and direction by Tony Award-winner Diane Paulus. The production is currently touring the US and has also recently announced it will have its Australian premiere in 2020 at the Sydney Lyric Theatre.Waitress tells the story of Jenna, an expert pie maker in a small town, who dreams of a way out of her loveless marriage. A baking contest in a nearby county and the town’s new doctor may offer her a chance at a new life, while her fellow waitresses offer their own recipes to happiness. But Jenna must find the courage and strength within herself to rebuild her life. This American musical celebrates friendship, motherhood, and the magic of a well-made pie.On its Broadway opening, Waitress was nominated for four Outer Critics’ Circle Awards, including Outstanding New Broadway Musical; two Drama League Award Nominations, including Outstanding Production of a Broadway or Off-Broadway Musical; six Drama Desk Nominations, including Outstanding Musical; and four Tony Award Nominations, including Best Musical.Waitress is produced by Barry and Fran Weissler and Norton and Elayne Herrick.
Christina can currently be seen in the lead role of Raven in Bat Out of Hell at the Dominion Theatre, a role she originated and has also played at the Manchester Opera House, the London Coliseum and in Toronto. She will be playing two solo concerts at the Crazy Coqs on the 7th January just two days after closing in Bat out of Hell. Her other credits include Pearl in Starlight Express (The Other Palace), Johanna Barker in Sweeney Todd (Derby/Mercury Theatre Colchester), Kim/cover Magnolia in Show Boat (New London Theatre), Marlene Hardcastle in The Smallest Show on Earth (UK Tour), cover Laurey in Oklahoma! (UK Tour), Sharon in Finian’s Rainbow (Charing Cross Theatre) and Marilyn/Sovereign in A Christmas Carol (Birmingham Repertory Theatre). Can you tell us a little about your experiences at Bat Out of Hell in the last few weeks? Halloween must have been quite the occasion! And how much did you enjoy the Sing-Along evenings? Hearing 1000+ people belting the songs back must have been pretty special?There’s never a dull day at Bat! Our Singalongs have been a wonderful discovery. I was nervous about them but hearing 1000+ people singing along is very moving. It’s a vulnerable and exposing thing to sing in front of others and we’re so grateful for people putting themselves out there. Halloween had a particularly electric atmosphere. The sheer wall of sound from the audience was wild! It was also rather surreal looking out at a whole audience dressed in full costume - felt like they should’ve been on stage with us!You’ve now played opposite 6 different Strats during your time as Raven. Do you have any subtle changes you make dependant on the actor that the audience might not even notice?Playing opposite 6 Strats has been an amazing learning curve. I act with 3 Strats a week regularly, which means I have to be very flexible as that means 3 very different shows. For my Raven to be a match made in heaven for their Strat, my character naturally changes. There are other challenges too - as I always do all 8 shows a week, I have to pace myself and be prepared for Strat to be more rested and have more in the tank vocally. I have to remember that I don’t have those downtimes to recover, and use technique to stay solid and match their energy. Right now I’d say my show with Jordan requires an earnest rebel Raven, Simon a cheeky, feisty one and Barney a playful but dangerous one.What can you normally be found doing 60 minutes before curtain up? What’s your pre-show regime?I’m always early as I hate rushing. I take my time pin curling and doing my makeup slowly I even head to warmup. Post company warm up, I spend time listening to podcasts up until the half as I finish my makeup, then switch to music to get me pumped and ready to rock out while I finish vocally and physically preparing. Tell us what it was like meeting Meatloaf himself. What are his favourite moments of the show?It was a dream come true performing the show for Meat Loaf. I’d spent time with him during a press tour, hearing his incredible stories and being very inspired by him. He had told Andrew and I that ‘For Crying Out Loud’ was his favourite song so we were very aware of his presence in the box during that number! Seeing him giving us a standing ovation at the end was a ‘pinch me’ moment. I’m incredibly grateful to have sung the songs that he made so famous with him in the audience. That he was proud of us was even more surreal. There are some fantastic costumes in the show. Which is your favourite?I think Jon Bausor has done an incredible job with both set and costume designs. I adore the pink and lace playsuit I wear in the bedroom scene. It feels special as it was created to flatter my body - Jon told me how long he spent searching for the perfect shade of a ‘cool pink’ for my skin tone. I adore his attention to detail and I feel amazing in it every night! I think it’s safe to say, you have some pretty amazing fans out there. Can you tell us a time when your fans have made a special impact on you? Our fans are so lovely. They’ve taken this show and this music and created a whole community for themselves. It’s so touching to see how many friendships have been born out of a love for Bat. I’ve had many touching and incredible moments at Stage Door. A recent standout was a lovely woman called Abby who has been through a very difficult time. Her connection with me and the show has really helped her and inspired me. There’s something special about Bat Out of Hell that brings people back again and again. Where were you when you heard the news of Bat’s closing? How did it feel to find out it was closing?We found out in warmup that the show was closing. It’s always sad when a job comes to an end but I’m sure there will be life for it in the future. We’ve had a brilliant run and it’s certainly been a life changing adventure for me. When one chapter ends, you simply become available for others to begin. What’s the first thing you’ll do when you wake up the morning after Bat has closed? Do you have any special plans to look forward to?The first thing I’ll do when Bat closes is jump into final preparations for my debut solo concerts at Crazy Coqs. Just 2 days after we close, I’ll be performing intimate gigs where I sing some of my favourite songs. It’s exciting and terrifying - which is exactly why I said yes. My favourite thing is being pushed out of my comfort zone and challenged. Eventually, I’ll hopefully find time to process what my body has been through for the last year and a half. I’ve only had one sick day so I’m sure I’ll need a little holiday. What songs are at the top of your ‘most played’ recently? I love discovering new music. Recently my most played songs have been ‘plateau’ by mouse on the keys, ‘Losing Touch’ by Atlas Run, ‘Get Terrified’ by itoldyouiwouldeatyou and ‘7’ by Catfish and the Battlement. Accompanied by a lot of Christmassy choral music to satisfy my classical background. My playlists change every day. What do you hope the future holds for your career? Any dream roles you’d like to share with us?I’m interested in screen work. I’ve been meeting for quite a few TV and film projects recently, which is exciting as it’s always something I’ve wanted to explore. I’m also loving workshopping new shows as Bat has shown me how much I love to create roles and be in a room where something fresh is happening! There are a couple of bucket list roles which would be amazing to tick off one day. Mary Poppins has always been up there, along with Christine in Phantom and I’d love to do another Sondheim. With regards to newer shows, I’m loving the Mean Girls Broadway soundtrack and that would be cool to audition for if it ever came to London. I’m open to all opportunities and excited that I’m not sure what’s next!Christina Bennington will be performing two solo concerts at Crazy Coqs, Zédel Brasserie on the 7th January 2019. Bat Out of Hell is currently at the Dominion Theatre – closing on 5th January 2019
Katy Lipson for Aria Entertainment and Hope Mill Theatre are delighted to announce the full cast for the London transfer of their production of Aspects of Love at Southwark Playhouse.Madalena Alberto will play Giulietta Trapani, and Eleanor Jackson will join the ensemble. This completes the previously announced cast of Kelly Price (That Day We Sang, A Little Night Music – Olivier Award Nominee, 2010) in the role of Rose, Felix Mosse (The Rocky Horror Show) as Alex, Jerome Pradon (Jesus Christ Superstar, Pacific Overtures – Olivier Award Nominee, 2003) as George, Jack Churms, as Jerome/ensemble, Jason Kajdi (Our House, Assassins) as Hugo, Julia J Nagle (An American in Paris) as Elizabeth/ensemble, Minal Patel (The Secret Garden, Bend it Like Beckham) as Marcel and Eleanor Walsh as Jenny/ensemble.Madalena Alberto has played some of the most coveted roles in musical theatre, including Fantine in Les Misérables (Barbican and UK tour), Grizabella in Cats (London Palladium) and the title role in Evita (Dominion Theatre, UK and International tours). Madalena is also an established solo artist and songwriter, performing regularly in concerts in London, Lisbon and Barcelona, and is a proud associate artist to Chaskis Theatre Company in London.Eleanor Jackson trained at the Bristol Old Vic Theatre School. Her theatre credits include Freight (RADA Festival), Medea (Bristol Old Vic), and Great Again (Vaults Festival).Directed by Jonathan O’Boyle (Rain Man, Hair and Pippin) this new, intimately reimagined production will play for a limited season from 7 January to 9 February 2019, with a national press night on Thursday 10 January. This will be the fourth London transfer from Hope Mill Theatre, following Yank!, Hair and Pippin, and the award-winning 50th anniversary production of Hair has recently announced a major UK tour in 2019. 2019 marks 30 years since the original production of Aspects of Love first opened, premiering at the Prince of Wales Theatre in 1989. With music by Andrew Lloyd Webber and lyrics by Don Black and Charles Hart and based on the novel by David Garnett, the musical is set in France in 1947 and features the iconic songs Love Changes Everything, Seeing Is Believing and First Man You Remember. While English student Alex Dillingham is travelling through France before his call up, he falls in love with the alluring actress Rose Vibert. Rose joins Alex at his uncle’s villa. As the pair embark on a passionate affair, the unexpected arrival of Uncle George changes their lives forever. From the cobbled streets of Paris to the mountains of the Pyrenees, Aspects of Love is a heart-breaking love story spanning twenty years.Aspects of Love will have musical direction by Richard Bates, choreography by Sam Spencer-Lane, design by Jason Denvir, lighting design by Aaron J Dootson, sound design by James Nicholson and casting by Jane Deitch.Aspects of Love at Southwark Playhouse is produced by Katy Lipson for Aria Entertainment and Hope Mill Theatre with Jim Kierstead.