Mountview Academy of Theatre Arts is renowned as one of London’s leading universities for musical theatre, with many of its graduates moving straight into jobs in the West End. The chance to see a cast of these talented students, in the final year of Mountview’s three-year Musical Theatre BA, is an opportunity not to be missed.
Parade (1998) — with sophisticated, Tony Award-winning music and lyrics by Jason Robert Brown — tells the true American story of how in 1913, factory owner Leo Frank was falsely accused of rape and murder, revealing horrific, institutional antisemitism.
The last major London production of Parade was in 2011 at the Southwark Playhouse, so Jason Robert Brown fans are going to be thrilled about the chance to see it again, even in a strictly limited run of just five performances.
Award-winning director Josh Seymour worked at the Donmar Warehouse for many years as assistant and associate director, as well as more recently for the National Theatre and West End. It will be exciting to see his take on this dark, jaw-dropping musical. So come to Islington and join the Parade.
Parade runs at the Pleasance Theatre 7-10 February 2018.
This is sketch comedy as you’ve never seen it before: camper than a Gilbert and Sullivan away day; it’s a sort-of musical; it’s topical satire; costume quick changes; very silly accents. There are also sketches that stretch from the traditional to the inexplicably macabre.
Yes, Unleash The Llama are back with an hour of dystopian sketch-comedy about a totalitarian dictatorship not too far away (cough—America—cough). Saul Boyer (pictured: psychotically grinning) and Joe Bence are being forced to rewrite and perform all known audiovisual media to the exact specifications of their televisual overlord, Big Dick.
The opportunity to see these two sensational performers in their idiosyncratic wünder-show cannot be missed. And in the West End, no less. (Well — an intimate fringe venue with limited tickets. But still. Good enough for Audra McDonald.)
TüManz: TüK18 is likely to end up leaving you Tü shook for words on the first viewing, so you might have to go Tü timez, but not more than three (they are only doing three dates). Best to go see this dynamic duo now, before the TV commission and the arena tour begins.
TüManz TüK18 is on at the Leicester Square Theatre 18-20 January 2018. Tickets £10.
Wednesday 3rd January 2018 19:00-23:00
The UK has gone John Williams mad in 2017, with many concerts over the country celebrating the iconic film composer’s 85th birthday, including an entire BBC Prom dedicated to exclusively to his work.
John Williams’ scores are known for being enormous and lush, with gargantuan orchestras packed to the rafters with percussion (think Star Wars; Harry Potter; Jurassic Park; Indiana Jones; E.T.; the list is endless). John Williams has a close association with the London Symphony Orchestra, known for the original Star Wars soundtrack recordings, often reaching up to a hundred musicians for those real fortissimo moments.
How exciting then that the intimate, rock-gig-esque setting of The Jazz Cafe in London is putting on a show of John Williams’ music but with only a twenty-piece ensemble. It will be fascinating to appreciate Williams’ breathtaking music up close and personal; and not swimming in reverb but where we can appreciate the individual musicians.
At the John Williams BBC Prom, about 1,350 people stood in the Royal Albert Hall’s central “arena” for the best views, while a further 4,000 sat around the outside. The Jazz Cafe has only standing room, for 420 people maximum, with a restaurant on the upper circle if you do fancy sitting.
It’s all set to be a cracking gig, and a chance to hear John Williams’ stunning music like never before. The John Williams Prom sold out well over 5,000 tickets in a few days; make sure you get your tickets for this intimate gig asap.
For more information and to book tickets, visit The Jazz Cafe website.
November is an odd time of year in London. Skies that darken quicker ally themselves with dipping temperatures; outdoor spaces of the city’s bars and clubs are the reserves of smokers and hypothermic drinkers crowded out of the warmth. Sometimes it can seem like the capital has pressed pause on merriment, storing up good-will for the festive season.
However, for the artistically intrepid and culturally aware, this is also the month of one of the most varied and glorious musical events of the calendar: the EFG London Jazz Festival. 2017 marks 25 years of the city-wide jazz celebration that grew from Camden Jazz Week and now fills London with one of the most broad showcases of the genre as 10 consecutive days swell with over 300 shows across more than 50 venues of all shapes and sizes.
Anyone who’s been near the organisation of the festival (or just consistently in the mood for good music and good chat) over the past 25 years will know the seismic impact that John Cumming has had on the London (and UK) jazz scene in that period. His hand has guided the festival from its inception and as we look forward to this landmark edition, Gilles Peterson had the good sense to sit down with John to have a bit of a chinwag with a time limit (brave man).
We’ve got our top picks for the festival (Brad Mehldau and Chris Thile, Knower and Justin Kauflin to name a few) but for a real expert’s eye on November, go to 1 hour 4 minutes in the link below to hear Gilles and John doing their thing: talking about music, the festival and the London scene as only they can.
The EFG London Jazz Festival runs from Friday 10 – Sunday 19 of November. You can browse the full listings here and find out about the ever-popular free programme here.
Most blockbusters are released at the start of the summer so it’s a rare joy for such a strong track to peep its head out as autumn is taking hold.
‘Lover to a Liar’ foams with the hutzpah of classic Christian Aguilera or contemporary Ella Eyre. Co-written/produced with Mike Kintish and KÅIKÅI, the raw lyrics are musically weaponised with Espa’s powerhouse vocals while tub-thumping drums and breaks set the purposeful pace of the track (with a modulated millennial whoop thrown in for good measure).
Announced with little fanfare, this is an absolute storming utterance that easily holds its own alongside the year’s most commercially-supported releases. More please, Espa.
Montreal is into jazz. How much? Well, the festival features 600 concerts, 400 activities and events and 3000 musicians from 30 countries over the course of 10 days. So yeah, loads of jazz. Founded in 1979 with the intention of bringing the best musicians on the planet to the city and its visitors, the 2017 programme delivers on this mission statement as well as giving stage time to artists that are headed in that direction.
Browsing the full schedule (which you can do here) it’s wonderful to see an event that has everything from the ‘indisputable legends, beg-borrow-steal a ticket’ category through to ‘oh yeah, I’ve heard they’re kinda cool and I’ve got a free afternoon’ gigs. To look forward to just some of this enticing mix, it’s great to see Michael League and Shabaka Hutchings each touring their new projects — Bokanté and Shabaka & the Ancestors respectively. For those who think that a Nobel Prize is exactly what you should look for in a musician, the freshly decorated Bob Dylan is in town. Speaking of decoration, the stage of Maison symphonique de Montréal will be heaving with talent in a double-bill that features Jack DeJohnette, Larry Grenadier, John Scofield, John Medeski, Charles Lloyd, Gerald Clayton, Reuben Rogers, and Eric Harland. What?? Amazing.
For the young guns, the line-up sparkles with rising stars like Cory Henry, Jacob Collier, Anderson .Paak, Too Many Zooz and many more. For fans of the hang (as an instrument as well as a late night dram) it’s exciting to see the return of Portico Quartet, part of a British contingent that include GoGo Penguin and the burningly ear-catching Binker & Moses.
Think that sounds like a lot? We’ve barely scratched the surface and if the staged gigs seem too formal, 130 non-stop street artists are on a mission to make the city swing. We can’t wait.
Montreal International Jazz Festival runs from 28 June – 8 July and you can explore the full programme here.
Sound Unbound sees the Barbican fling its doors wide open to share intimate encounters with classical music. The 60 performances represent 60 different opportunities to taste something new and interesting from a spectrum of pioneering, brilliant ensembles and composers.
In particular, we’re looking forward to Chilly Gonzales with Britten Sinfonia conducted by Jules Buckley in the world premiere performance of The Young-ish Person’s Guide to the Orchestra. You can also catch the orchestra with Alison Balsom and Timo Andres for a jazz-inflected programme of Rhapsody in Blue and Miles Davis’s Sketches of Spain.
Guiding another generation through and to classical music is BBC Young Musician 2016 winner cellist Sheku Kanneh-Mason who performs as one third of a trio, joined by his talented siblings on violin and piano.
Anna Meredith‘s work grows ever more interesting plumage with every year, and the Curve Gallery is privileged to be hosting an installation performance called ‘Hum’. The infinitely hip Pit Sessions in association with Boiler Room will also be channeling Calder Quartet, Liam Byrne and Ensemble Nevermind never satiate your desire for online-streamed cool.
Events are scattered (in an artful manner) across Saturday 29 and Sunday 30 April so you might want to check out what’s going on when and then enjoy the wanderlust of the open-house. Check it out here.
Sunny Afternoon, the jukebox musical telling the story of The Kinks, won four Olivier awards in 2015, including Best New Musical. The Kinks’ lead singer and songwriter, Ray Davies, also won an Olivier that same night. In the same vein as other jukebox musicals like Jersey Boys, Sunny Afternoon not only features the songs of The Kinks, but is also written by the band and tells the story of the band. Ray Davies was keen to remain objective as a writer, and to give a warts-and-all account of the band and the British sixties too.
Following a successful run at the Harold Pinter theatre in the West End, Sunny Afternoon has been on tour since August 2016 and is now returning to London at the New Wimbledon Theatre, for a week starting on 28 March. With Ryan O’Donnell reprising the role of Ray Davies after playing him already in the West End, this looks to be a particularly exciting touring production; whether you already saw it in the West End or not, head on down to Wimbledon for some Kinks-y action.
Battersea Arts Centre may be the venue of choice for comics finetuning their Edinburgh festival sets, but there is no kidding around with the stellar selection of music they have programmed in collaboration with GOAT Music. As the comics migrate north, the musicians takeover for Borderless, a new festival that will soundtrack the Olympic summer with irresistible global grooves.
The line-up reads like a rough guide to the hippest acts on the frontier of any genre, taking in the crackling cuts of electro outfit HAELOS, the jangly it-rock of Manchester band Money, and the percussive punch of afrobeat allstar Dele Sosimi. Amidst a celebration of music that combines the cerebral with the danceable, jazz sympathisers will find plenty that illustrates the genre’s growing influence on the broader alternative music scene. From a strong field, here are three submissions for best in show.
Sons of Kemet
Drummer Seb Rochford has quietly carried the torch as U.K jazz’s arch-innovator since his time with Acoustic Ladyland and Polar Bear in the noughties. The union of Rochford’s inventiveness with the vision of reed-player Shabaka Hutchings has seen Sons of Kemet capture the zeitgeist again, picking up the MOBO for Best Jazz Act in 2013. Theon Cross’ tuba menaces in counterpoint with Hutchings’ spiky melodies, whilst the presence of second drummer Tom Skinner proves the Sons’ dedication to the beat. The live experience is unique, akin to witnessing a ritual hoedown at New Orleans’ Mardi Gras.
Hackney Colliery Band
The East London based brass band continue a trend that has seen horn led groups like Moon Hooch demonstrate you do not need decks to drop the beat. Best known for good-time arrangements of classics from the likes of Prodigy and Dr Dre, this year HCB released Sharpener, an album bursting with fresh original material. Having played out the London Olympics with a set at the closing ceremony, there will be few better places to see in the Rio edition than with Hackney Colliery Band on the 2nd August.
For those who prefer less bombastic vibes, Mammal Hands weave melodic fragments into a tapestry of sound far greater than one would have thought possible from the trio who create it. Building on the formula pioneered by Gondwana label mates Go GO Penguin, Mammal Hands base their pieces around trance-inducing patterns. The addition of borrowings from Indian and African musical traditions enriches the approach, adding an emotional heft to the minimalist textures.
Borderless — presented by Battersea Arts Centre and GOAT Music — runs 2 August – 29 September. Full programme here.
Q. What do Gil Scott Heron, Herbie Hancock, Mulatua, Astake, Lee Scratch Perry, D’Angelo, Lana Del Ray, Bobby Womack and Amy Winehouse all have in common?
A. They’ve all performed at Camden’s Jazz Cafe, which is reopening after a £3million renovation project.
By the looks of the announced line-up, it’s not just the 25-years-old venue that’s had a face-lift. The programme packs a punch, with established quality lining up alongside emerging sounds on the scene. For example, you can get down there to see the likes of Dave Harrington or Portico. How about Mammal Hands with a smattering of soul and hip hop options to broaden the palate? It’s tasty.
With a vibey new look and feel, here’s to London regaining a venue equal to its history and famous name.