I’d been trying for some time to get Children of Eden performed again in Berkshire, so was really pleased when ROS took it up for its Spring 2016 show at the Kenton Theatre. It was staged pretty much black box … Read More
How to set different scenes for a musical when the staging is largely black box? That was the challenge when The Sainsbury Singers staged Jekyll and Hyde The Musical in the Hexagon, Reading in May. I came up with a … Read More
I’ve noticed that it is almost universally the case (by which I mean I haven’t seen anything different) that lighting designers for amateur shows get a credit that is always one line and buried somewhat in the middle of the backstage crew. Whereas most professional lighting designers seem to pop up with some kind of mini biog in the middle of the production team.
We went to see the 25th anniversary production of Les Misérables at the Barbican last night. Within the first minute it became clear that the production is very different from the original. Different as in better or worse? No, we came to the conclusion it was just different. All of which shows the ultimate influence a production team has on the base material of a show.
Disco Inferno was a bit of a surprise bundle for me, insofar as I had never seen the show before and there didn’t appear to be much in the way of any information on it on the internet. Probably best described as in the ‘We Will Rock You/Mamma Mia genre with the devlish influence of Witches of Eastwick and the disco hits of the 1970s, author Jai Sepple wrote the show in 1993 to, in his words, “rekindle some of those long forgotten memories of the decade of flares, platforms, glam and disco” and in that he succeeded. In a lengthy three hours or so the show romps through 25 of the most recognisable hits of the era, punctuated by a story about the perils of greed and the desire for stardom.
Have just returned home from seeing Starmaker Theatre Company‘s production of Fame at the Wilde Theatre in Bracknell. It was really good to see a decent audience there and they were rewarded with an excellent performance by a fine cast, … Read More
I must confess to not being exactly on top form when it came to designing and rigging the lighting for Reading Operatic Society‘s performance of Iolanthe at the Reading Central Salvation Army hall. A throat infection was not a good … Read More