21st June 2015 | Theatre
"My friend only likes musical musicals... She's not hardcore" - Girl in front row. #WestEndLIVE— W!ZARD Radio Media (@wizradio) June 21, 2015
Just beat it... Beat it!…
20th June 2015 | Theatre
Joey from @WarHorseOnStage is... on stage!…
7th April 2015 | Theatre
Memphis The Musical has been grabbing all of the big West End theatre awards so far this year – and for every award it hasn’t won, it’s been nominated for a million others. With music penned by David Bryan (of Bon Jovi fame), the Shaftesbury Theatre may just be the hippity-hoppiest club for you to swing by.
Loosely based on the story of Memphis disc jockey Dewey Philips, Memphis tells the story of one of the first white DJs to play black music on the radio in the 1950s. Starring in the lead roles are West End favourites Killian Donnelly (Huey) fresh off his show-stealing performance in sub-par The Commitments and Beverley Knight (Felicia) who just can’t do anything wrong.
Memphis resembles everything you would expect of a typical, high concept, West End show – lots of lights, big sets and even bigger voices. The acting is outstanding, the singing is on a whole different level and the visuals (set, costumes, etc…) really immerse you into the world of the 1950s, something that most teens definitely wouldn’t be able to ‘feel’ otherwise.
For the average theatre-goer, Memphis is a real treat. But, there’s the problem. For somebody who’s seen almost every show the West End has to offer right now, Memphis really is not special. If anything, it’s hugely irritating.
It’s easy to understand why a production such as Memphis would pick up/be nominated for so many theatre awards – it ticks all of the boxes: it’s high concept, it’s a real story, it has two famous faces, and the list goes on. But Memphis doesn’t bring anything new to the table. The songs sound very similar to the ones being sung not far down the road (i.e. IN ANY OTHER WEST END SHOW) and the…