Profile for ajh

Jeanette Bayardelle - who played Liza Jane in the 2019 workshop of HK - posted a taste of herself singing the role on her Facebook page while also congratulating Kecia Lewis on completing her Tony winning run, also pointing out that she’s an investor in the show, but Ms Lewis didn’t seem to take kindly. I guess the timing *could* be seen as a little off but KL’s response is not gracious. From what I’ve seen, Bayardelle seems a genuinely good human, as well as a major talent in her own right. ...

It won’t close early; it’s a short run plus somebody connected with the production was telling me just today that sales have gone through the roof since opening night. I guess the sort of people likely to book for this don’t care about reviews (despite the Guardian’s 5 stars -lol) or an Equity investigation.

Although the role of Eva has traditionally always had an alternate, Samantha Pauly who played it when Jamie Lloyd’s first version of this production was at London’s Regents Park Open Air Theatre back in 2019, didn’t have one. That said, she missed a number of performances in what was a shorter run than this Palladium one, including the second half of the very last show, when her understudy had to take over for act two (ring any bells?!) With the quite significant changes to the staging and th...

Hearing these enthusiastic reports is giving me LIFE. Really fancied this after hearing the tracks available on Spotify and having them on repeat, and am now fully excited to see it in a couple of weeks.

I could see Benjamin Button doing really well in NYC.As the extended run of Once proved, there’d be no problem casting the show for Broadway but I do hope Olivier winner John Dagleish and Olivier nominee Clare Foster get to recreate their work for New York audiences. This show is magical.

Anybody know what’s happening on 4/30 matinee? I had tickets for then but it appears to have been cancelled.

ACL2006 said: "does this show have understudies and/or standbys? Didn't notice any listed on Playbill.com"If they’re doing the same as in London, then individual moments are covered within the company but not necessarily whole tracks, so like if performer A is out, then performer B will do some of their numbers but performer C and D also do a couple of A’s bits. Does that make sense the way I’ve described it? Apologies if not! ;-)

I’d never watched the TV show so my prep for this was just reading an online synopsis of the various seasons - and I was absolutely knocked out. It’s just thrilling theatrical storytelling, involving, inventive and chilling. Some of the effects are stunning and Louis McCartney as Henry Creel delivers a star-making performance. I saw it in London at the Phoenix (a mid-sized house) and I think it may all ‘breathe’ a little better in the Marquis. Such an exciting, occasionally terrifying, piece ...

This new Adam Gwon musical presented by the Keen Company started previews five days ago and just wondered if anybody has seen it yet and if so what are their thoughts?I booked for this as soon as it went on sale because, well, Elizabeth Stanley. I’d watch her perform selections from the phone book. All I’ve heard of the show itself is an Insta of male lead Matt Rodin doing a rather nice number.

Fascinated to see how this goes down at A.R.T. I was in the minority in London as I just found this show a bit ordinary. Not bad but not particularly distinguished and slightly overlong. I actually enjoyed Dujonna Gift more than Sam Tutty (I find a little of his winsome puppy dog shtick goes a long way for me, though he does have a lovely voice) but to be fair there are countless young American actresses who can deliver what she does. Should this make it to NYC, this definitely feels to me mo...

Really pleased to hear this was looking good in its dress rehearsal. I’ve got preview tickets in a couple of weeks, and I have become slightly addicted to the songs already released. ‘Make It Work’ and the title song are real ear worms. It’s not a particularly original sound but that Latin beat meets theatrical bombast reminds me of In The Heights, and I love that score. RWHC has a decent story, plus the themes of immigrants fitting in within the USA feels extremely relevant….I’m quietly opti...

I thought she died from cancer of the uterus?

I could not agree with you more. She’s an authentic star. I wonder if they could get her as the Norma alternate when the current Nicole Scherzinger Sunset inevitably hits Broadway. I’d love to see her do that, and she proved in Jagged Little Pill that she does crazy brilliantly!

The London production seems to be a hit largely based on the fan obsession with Jordan Luke Gage who plays Clyde (he was & Juliet’s original Romeo in the West End). As a result the indiscriminate screeching at the end of, and often in the middle of numbers, can get a little much if you’re not in the mood. I really don’t think B&C is a very good musical but only about 60% of it was audible the night I went thanks to all the screaming. I definitely think it’s a weird show and story to have such...

Would love to see Natalie Mendoza repeat her Imelda. She was terrific in the London production.

She was sitting across the aisle from me at Aint No Mo late last year and she seemed to be having a fabulous time. I saw her in The Portuguese Kid opposite Jason Alexander and she was sensational…quirky, endearing and a little unhinged, a really delightful performance.I’d love to see her in something with Elizabeth Stanley, maybe playing family members as they look similar (if they’d been nearer in age they’d have been great for Side Show)…and they are both FRICKIN GODDESSES

Audrey Brisson won’t be in competition as she was nominated in last year’s Oliver awards for the first run of Amelie. Another possible contender could be Amara Okereke who is astonishing in the new Spring Awakening. I doubt Lisii LaFontaine will get a look in for her Satine, or if she does it’ll only be to make up numbers.I’d love to see Rachel York or the aforementioned Sherie Rene Scott as the Queen, and Leslie Kritzer or Lesli Margherita as the Stepmother for Broadway.

I love her too, a sublimely talented singing actress: she blew me away as Fosca, finding an unexpected warmth in the character, and was just heartbreaking in Fun Home. I fell in love with her voice from the Chess album then with the whole package when she starred as Maria/Futura in the West End flop Metropolis. The show had its issues but the leading lady was not one of them: just beautiful and deeply moving as the female revolutionary and utterly chilling as her robot counterpart, plus she m...

Natalie Mendoza was utterly sensational as Imelda in the London version of Here Lies Love at the National Theatre, again for Alex Timbers. I was really astonished that she wasn’t Olivier Award nominated for it. Saw her in it half a dozen times, and she was always terrific.She’s stunningly good: rangy, belty voice, incredible, magnetic stage presence and very very beautiful. She’s gonna be a thrilling Satine.

I think you’re right and it is the full company on stage for Masquerade bar the Phantom himself. As you’re probably aware also, the crowd looks even bigger because of the dozen or so elaborately costumed mannequins placed at intervals on the staircase, surrounded by real “live” cast members. At least this is in the original Prince-Lynne-Bjornson staging.