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City of Angels tickets

19/10/2014

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Hello lovely people,

Ahead of starting City of Angels rehearsals next week (which I'm ridiculously excited about) and as lots of people have been asking, I thought I'd offer up what info I have regarding tickets and how to go about getting them.

Although the initial ticket release sold out before I even knew I was going to be involved in the show, fear not; there are more to be released nearer the time, via the Barclays Front Row scheme.  It's my understanding that you'll have to get in quick, but there are around 550 tickets per week yet to be sold, primarily consisting of £10 front row seats for every performance.  These are released at 10am every Monday for performances two weeks later. 

In City of Angels' case, the first batch of tickets go on sale on Monday, 24th November.  I'll do my best to remind those interested via Twitter nearer the time, but you can also sign up for email reminders on the Donmar website, link below. Be aware that patrons may only book one pair of Barclays Front Row tickets per production.  

Standing tickets
 are also released on the day of performance from 10am in person at the Box Office, if you're local and have no objection to an early morning...!

That's about it; I hope some of you are able to get your hands on tickets and come along!

Link to Barclays Front Row reminder alerts signup

 
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Next set of gigs... Because I'm really bad at taking time off.

15/9/2014

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Hello!

So because it seems I've still yet to grasp the concept of taking a break, I've signed myself up for a few gigs before I get properly stuck into City of Angels!

First up on September 24th is The Story of Bart at the London Hippodrome. 
West End Star John Barr will be taking on the role of Lionel Bart telling you his story, joined by some very special guests performing Bart’s most unforgettable hits as well as one or two songs you haven’t heard before.

Next up on October 27th is Peter Polycarpou's Laugh and Be Happy at the Crazy Coqs, Brasserie Zedel.  Having performed in several previous incarnations of this evening of Randy Newman's songs alongside the glorious Poly, I can assure you it's a gorgeous evening (and the venue is bloody beautiful.  And does cracking cocktails...!)


Links to book for the concerts are below; a very special prize to those who book both...*

*If your idea of a special prize is my undying gratitude.

John Barr sings Lionel Bart at the Hippodrome
Peter Polycarpou's Laugh and Be Happy at the Crazy Coqs
Alexander Bermange and guests at the Pheasantry
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It's a (critical) Dogfight

29/8/2014

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So I've been thinking.  Thinking a great deal about the critical response to Dogfight, which has polarised newspaper columnists and bloggers alike in a way that no other production I've been involved in has done.  Yet, this is the first time I've felt able to read reviews with genuine detachment; for I have never in my career felt so certain I was a part of something really special.  A sentiment I can quite confidently state was felt across the board, by all involved in the production.  It may sound arrogant to say so... But sometimes, you just know.  It's in your heart, your gut and in the atmosphere of sheer joy that pervaded our rehearsal room from day one.

And so, to the critical response (spoilers ahead, for those yet to visit; fair warning!) I'm also assuming those reading hold a degree of familiarity with plot and characters.

For every five star review, every man and woman out there who adored the show, praised it to the heavens as the charming, funny, powerful, heartbreaking piece of theatre we all felt it to be; there was another who would damn the production with faint praise, for reasons frequently related to an inability to get past the misogyny they perceived the piece to be condoning.

I am a woman who proudly identifies herself as a feminist.  The Everyday Sexism project, the many, many high profile women (and men) who publicly support feminism; even Beyonce's swiftly iconic turn at the VMA's recently, are all a cause for celebration.  There is a very real turning of the tide happening, to my mind, as both sexes reclaim a word long stigmatised and begin to call bullshit when they smell it. 

However, to those who have instantly cried misogyny at the premise of the show, who have bemoaned the marines' treatment of the women and claimed their behaviour is swept under the carpet with uncomfortable ease; I can't help but wonder if this is in some part a kneejerk reaction, maybe stemming from a sense of obligation to unequivocally condemn any and all bad male behaviour, without necessarily taking the time to try to contextualise and understand it? 

Well, before you cry off with her head, let me attempt to do just that...

We are talking about a group of marines, a mere thirteen weeks into their training, about to be packed off to a country they know next to nothing of, many, many miles from home.  A group of boys, some not even out of their teens.  A group of scared children, the majority likely fairly uneducated, who have been drilled into turning a blind eye to the humanity of anyone but their military comrades.  For how else can you demand of a group of teenage boys that they travel halfway around the world and kill with zero compunction? 

They are males of the early sixties.  Of Kennedy's era (the majority of the action of Dogfight occurs the day before Kennedy's assassination) the foreshadowing of which casts a desperately sad pall over their belief in their own invincibility.  This was a time when equality between the sexes was not even close to being a reality.  A time when Americans truly believed they were untouchable.  A day later, that belief would implode and the slow erosion of the USA's unshakeable idealism would begin.

I am not condoning the men's treatment of the women of the piece, nor the revoltingly cruel nature of the dogfight itself, but neither am I able to entirely condemn them for it.  It can arguably be viewed as one more step on their road to dehumanisation, of themselves and of others.  I mean, this stuff actually happened, people.  The dogfight was a very real marine tradition.  It ain't pretty, but it's true.  Shouldn't theatre, any art in fact, shine a light on the bad as well as the good?

To those concerned for the (assumed) terribly fragile feelings of those of us cast as 'ugly', I do think it worth quoting the authors' note in the script - 'the only requirement is that the audience not identify the women chosen as conventionally attractive within the context of 1963 America' (there's that magic word again, context...)  Plus; jeez, we're actors.  I could write all day about the sheer fun involved in playing someone who is not exactly the girl next door!

What troubles me about the hand wringing response from some quarters to the female characters is that it feels, quite frankly, almost patronising.  There seems to be a willful blindness to the fact that for my money, almost all of the female characters are stronger, brighter and often more in control than their male counterparts.  A fact that perhaps, just doesn't fit the narrative some seem determined to take from the show.

Rose is, by far, the most intelligent character onstage.  When alerted to the true nature of the dogfight, she doesn't opt for a quiet exit, tail between her legs; instead, this shy, bright girl barely out of her teens takes a swing at her date and publicly, furiously and articulately, calls him out for his asshole behaviour.  Even the song 'Pretty Funny', perhaps her lowest personal point in the show, steers clear of being entirely self pitying.  She grits her teeth, refuses to shed another tear, reminds herself that tomorrow she'll 'forget to even care'.  When Eddie returns to make inarticulate amends, she again calls him out on every ignorant statement he utters, every second of bad behaviour, never once letting him off the hook over the course of their evening together, opening his eyes to his own essential decency in the process. Rose is no feeble victim.

To Marcy; a woman of little education but ferocious street smarts.  She is in control of her role in the dogfight and of the financial transaction involved every step of the way.  Boland can insult her all he wants; she still walks away with a stomach full of free food, booze and a wad of cash.  She tears into Rose's naivete in the process, expressing feminist opinions before such opinions were printed on banners and waved on marches up and down the country (albeit in slightly less fruity language, ahem).  For my money, future Marcy goes back to school, gets stuck into women's lib, becomes a beloved of the oppressed, Mrs Madrigal type, taking in future Roses, growing pot on the roof.  Marcy is a survivor, through and through.

Ruth Two Bears, a woman of few words (but Christ, can she pick them).  Does she slink out in embarrassment on learning of the true nature of the evening?  No.  She calmly pours her drink over her date's head, makes her feelings crystal clear with one choice insult and (God, I hope) heads off with Marcy to continue drinking and shooting the stoical shit way into the night.  More the behaviour of one utterly self possessed than one victimised.

Mama; a single mother, taking no nonsense from anyone, kind, caring, having single handedly raised Rose whilst running a business.  Helpless female?  What do you think?

Suzette, who seems to be having a rather glorious night with the drunken Fector.  Even Chippy, who senses which way the wind is blowing and wrests back control of the situation in the whorehouse, realising it's safer and wiser to consent to one more john and be paid for it than risk the choice being taken from her.  It's a terrible corner to be backed into, but she has the smarts to find her way out of it as best she can.

These women are victims of their circumstances, absolutely.  However, to label them all simply as 'victim', to feel nothing but pity for them, is to deny them their strength.  It's demeaning.  It's reductive.  I think it's inaccurate.  In an outraged attempt to defend these 'pitiful' women, you do them the grave disservice of implying they are incapable of defending themselves.

The characters I truly pity in this show are the men.  The BOYS.  The boys who will never come back from a war they don't understand.  The boys who don't know any better.  The boys who cling to the mob mentality and to each other because it's the only thing that makes them feel safe, validated, powerful.  The only thing that makes them feel like 'men'. 

Now, let me make it very clear that I am not calling into question anyone's right to respond to a production however they see fit.  It is purely the nature of the negative responses that has interested me and prompted me to scribble down my thoughts on it all, as it has so often come down to 'I dislike the men's behaviour, therefore I dislike the show.'  Do you have to like the characters in a work of fiction in order to be able to see any artistic merit in it?  Do you like how Richard III behaves?  Medea?  Do you see my point?

I'm genuinely asking.  This blog is not the railing of an actor concerned their work has gone unappreciated and I sincerely hope it doesn't read that way.  I am genuinely, deeply fascinated by the passionate responses, both for and against, that Dogfight has elicited.  I guess I just wanted to throw my hat in the ring and become a part of the conversation.  She loves a good debate...!

I'll finish by saying that for me (and I think I can safely say, for the entire company), working on this show has been one of the greatest joys of my life.  I've never worked with a happier, more supportive group of people, or felt more creatively satisfied. I'm amazed and delighted that a production that has brought such happiness to the lives of all involved has hit such a nerve with audiences, for better or worse.

Below is a selection of quotes from reviews; both positive and negative, in the interests of fairness!

Curious as to what all the fuss is about? You have two weeks to find out.


15/9/14 UPDATE
- Since writing this blog, a number of further articles have been written in regard to our production; links to which are included below, for those interested!

Dogfight; offensive or outspoken? - Paul Taylor, The Independent
Man bites dog as Dogfight actor hits back at critics - Mark Shenton, The Stage
Theatre Thought: Dogfight at Southwark Playhouse - Katie Brennan, Bloody Hell Brennan
Dogfight – Misogynistic, Or Just A Show About Misogynists? - James Waygood, Grumpy Gay Critic


***** 'This controversial musical about US marines on the eve of war is a critique not a celebration of macho posturing... By the end, as so often, it is the women's strength that prevails when all that macho posturing has burned away to nothing.' - Guardian
***** 'They forward our insights into the broad political context (naively patriotic soldiers poised to topple into hell)... A wonderful evening that, in any truly discriminating theatrical culture, would win awards.' - Independent
***** ' A romantic, hard-edged and humane love story with universal feeling at its heart... It's almost perfect' - Libby Purves
***** 'Matt Ryan’s powerfully realised production demonstrating that crass attitudes and behaviour all hide a desperate need for purpose and a sense of belonging. In an increasingly fractured world, Dogfight speaks to us on many many levels. Unquestionably a must-see show' - Jonathan Baz
***** 'It is a touching tale of non-judgement. What sets Dogfight apart... is its beautiful simplicity and heartfelt humanity... The decision to explore the slightly darker sides of this story, gives the rendition a much edgier and welcomed feel.  Dogfight is an extraordinary production and delivers everything you would expect and more.' Broadway Baby
***** ' A tremendous, timely war-time musical in what is an extremely well-executed, highly polished production that spills over with themes of humour, drama, love and loss' - Mellow Day London
***** 'This is a bold musical but it's exactly what we need. THIS is the type of production we should be seeing in the West End.  This show is truly something special, if you don't catch this you'll be missing out on one of the best shows of 2014.' - Pocket Size Theatre
**** 'Dogfight is not misogynistic... To read it as such is to ignore the story at its heart, in which a fragile conception of masculinity in America's Vietnam era is dashed to pieces, and the emotional intelligence, sexual power and ability to guide others are given to a complex and interesting female character.' - Financial Times
**** 'So believable is [Laura Jane Matthewson's] transformation from wallflower to a woman with her own strengths and ideals... Jamie Muscato is particularly moving as he tries to make sense of having survived the Vietnam conflict four years on.' - The Stage
**** 'It’s an unusual premise, but somehow Dogfight suddenly finds its way into your heart, and before too long the goosebumps are rising.' - So So Gay
**** 'This is high class musical theatre that deserves a longer run in front of a bigger audience.' - Everything Theatre
**** 'A storming, relevant, fresh piece of theatre... Peter Duchan’s script is littered with charm, hope, bite, humour and heartbreak... A true triumph.' - The Upcoming
**** 'What starts as a slightly brash testosterone fuelled piece evolves into something much more tender and touching' - The Gay UK
**** 'This perception changing musical is a must see, as soon as humanly possible' - Theatre Full Stop
**** 'A heartfelt musical stuffed full of next generation talent & gorgeous songs.' - To Do List
**** ' This production absolutely blows the mundane fare of Theatreland clear out of the water, and should have the West End shaking in its boots. A barnstorming and phenomenal show.' - Grumpy Gay Critic
'Cruel in the extreme, Dogfight nonetheless refreshingly can boast a female cast who look like normal, everyday people which gives a fantastic sense of realism and poignancy to a show that starts by apparently indulging military machismo but then proceeds to subtly subvert it' - Reviews Gate
'This new American import still feels relevant thanks to its sure-footed stance against the misguided machismo and American imperialism that flowers in times of war' - Londonist
'A cruel trick forms the basis of the plot but despite its inauspicious beginnings, there is nothing mean-hearted about the touching love story at the heart of Dogfight the musical.' - The Metropolist
'The general synopsis of it alone might be enough to put you off, but try not to be deterred – Dogfight has the magical aura of an old Broadway classic.' - A Younger Theatre
'The premise of Dogfight... is an instantly intriguing one and a highly effective set up for the pathos that's to come.' Broadway World
'So loaded with symbolism, with the portent of man’s inhumanity to man and all its inevitable damage... In amongst all the testosterone and bravado – and the idea that 30 days basic training can prepare young men for hell – there is the denial of innocence and just a trickle of hope.' - Edward Seckerson
'There is no dictum which states that a musical must be one thing or another - so why do we insist on treating musicals as somehow distinct from plays? We will accept, encourage even, experimentation with form and content in a play, so why can we not accept it in a musical?' - PostScript
'This is a show with a few things to say about misogyny and war. Misogyny, of course, finds its expression in the ‘dogfight’ itself... Not that women are portrayed merely as saints or victims... This is musical theatre, not antiwar agitprop, and it works well as an entertaining spectacle with an interesting story to tell' - Exeunt
'A show about guys being guys will here be remembered for the girl.' New York Times
'What becomes fascinating about the piece [is] the juxtaposition of the crude and harsh world of being a marine, the backdrop of the Vietnam war and the tenderness and emotional connection between Eddie and Rose.' - Paul In London
*** 'Cheerily uncritical depiction of hateful misogyny' - Telegraph
*** 'The girl the jarhead falls for is not a waif - although she's not Tracy Turnblad either so what's the big deal?' - What's On Stage
*** 'Laura Jane Matthewson seems far too pretty to be Rose' - London Theatre
*** 'The Marines' vulgar treatment of these poor girls is horrific. The majority of the audience found humour from within the situation, whereas I failed to find anything about it funny.' - West End Frame
*** 'If boys will be boys, does it follow that boors will be boors?... A gang of shorn-headed US Marines, on leave in San Francisco after boot camp, they behave like intolerable jerks' - The Times
*** ' The Vietnam war is in its early stages and the marines have little idea of what to expect as they play their traditional game of “dogfight”, the offensive misogyny of which casts an ugly shadow over the first half of the show.' The Beast's Pen
** 'Rose’s relentless niceness is as feeble as a flower in a gun barrel when faced with the marine’s constant barrage of misogynist slurs' - Auditorium
** 'A great bleeding chunk of Vietnam-era misogyny' - Evening Standard
** 'The unpleasant scenario is presented as a sort of light schoolboy jape' - Time Out
'The thought of a contest to see who could bring the ugliest girl to a party is deeply offensive to me... I’ve avoided seeing Taming of the Shrew for ages because I can’t find comedy in misogyny... Watching the show, I felt a sense of creeping horror at what it took to create it. What does it mean to hire an actress to be “the ugly one” or “the fat one?”' - Life In The Cheap Seats
'Whilst stunningly executed, Dogfight is an uncomfortable watch... Arguably, holding a mirror up to this kind of behaviour... might be a small shuffle towards tackling it; but as an audience we are gleefully invited to objectify, mock, and dismiss the women in the show' - Ginger Hibiscus
'Matthewson is too pretty' - Mature Times
'Rose and Eddie never looked right as a couple to me but that may be part of the point.' - Curtain Up
'It presents collective cruelty as spirited frat-boy hijinks, refusing to address the underlying darkness' - Arts Desk
'Does their sacrifice excuse their misogynistic behaviour?  Not in my book.' - The Gizzle Review
'As set-ups for a boy-meets-girl musical go, it’s hard to imagine one which could be more sexist or misogynistic.' - Musical Theatre Review
'The story seems to be making a point about the way that the military takes young men and desensitises them in order to make them into efficient fighting machines, and their resulting inability to function in ‘civilised’ society.  The only way they seem to be able to enjoy themselves is by humiliating women' - Rage Off Stage
'My shock turned to bemusement, then to disbelief, then to anger, then to physical nausea, then to spiritual despair, and finally to indifference. In the closing moments I even experienced a golden beam of hope that this horror show, steeped in the sexual politics of the Stone Age, was a misbegotten satire. But no, it was in earnest.' - Spectator

9 Comments

Get Nate to school

27/7/2014

1 Comment

 
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Hello!

So I'm squeezing in a gig amidst the Dogfight run; for which if you haven't already booked tickets, please do.  This show is f'ing beautiful, if I do say so myself.  Laura Jane Matthewson and Jamie Muscato are bloody astonishing in the lead roles and the rest of the company are also nauseatingly talented and a joy to work with.  Possibly the happiest rehearsal room I've ever been in.  Already very proud of this one.

Anyway, back to the point of this post!  This gig is in aid of raising funds for an eleven year old chap called Nate Leung to attend Sylvia Young's performing arts school.  This guy is the most enterprising eleven year old I've ever come across; as well as gathering an impressive crowd of West End performers for this gig, he's been taking warmups at various productions across the West End, selling handmade loom band bracelets to West End performers and has set himself many more challenges to raise the fees required.  You can find out more about his progress and make a donation on his fundraising page, link below.

I'm incredibly impressed by his drive and determination (he's eleven for Christ's sake.  ELEVEN.  Hats off.)  It's already shaping up to be a great gig and it would be lovely to see some of you there.  It's on Sunday, August 17th at Cecil Sharp House, 7:30 start.  Tickets can be purchased by calling 0203 737 3066.  Please bear in mind that tickets cannot be purchased on the door, so best get in quick!

Nate's fundraising page (inc. ticket info)


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Dogfight at the Southwark Playhouse

30/6/2014

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Hi folks,

So my next role is in a show that in all honesty, I'd never even heard of before getting a last minute call to audition for it....!

However, having spent some time getting to know Dogfight, I'm now hugely excited to be a part of the European premiere production at the Southwark Playhouse.  Based on the movie of the same name and set in 1960's San Fransisco, it tells the story of young marine Eddie and
Rose, the waitress he enlists to win a cruel bet on the night before he and his friends are deployed to Vietnam.

I don't want to give away too much about how Marcy (aka yours truly) fits into the story; suffice it to say that she's about as far removed from any of the roles I've previously played as it's possible to get!  I can't wait to get stuck into rehearsals and the gorgeous score by Benj Pasek and Justin Paul.

The production runs from August 8th-September 13th.  Given that tickets for In The Heights at the same venue were like gold dust recently, I'd advise booking sooner rather than later! 

Hope to see some of you there.  I'm most looking forward to getting my hands on her teeth.  You'll understand if you see the show....

link to tickets





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Next few gigs

3/6/2014

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Here's where you can find me lurking and warbling for my supper over the next few weeks.....

First up is Emerging Artists at the Crazy Coqs, Brasserie Zedel, this Saturday June 7th.
  Following last November's successful launch (as part of the inaugural London Festival of Cabaret), Emerging Artists features British-based writers and performers presenting original work in their own unique way.  Each evening will introduce a new talent from the world of songwriting, performing, and musical theatre.  I'll be performing a comedy number (hooray!  For once I don't have to cry on cue, ha!) by Victoria Saxton and Julian Blakemore.  It will be my first time performing at this gorgeous venue, very much looking forward to it.

Next, one for you North Walian folk; on Saturday, June 14th I'll be performing alongside Leanne Jones, winner of BBC's The Voice and some familiar faces from We Will Rock You casts past and (just) present
, at Snowdonfest, Gwydir Park, Llanrwst.  There'll be loads going on from 12pm onwards, so come and make a day of it!  I might just be resurrecting my Killer Queen past.... Can't wait!

A reminder that you'll find me back at West End Fest on Sunday, June 29th
.  If you're at all interested in all the glorious Broadway musicals yet to make it to London, you won't want to miss it...

Then on July 13th, you'll find me back at what is starting to feel like a regular haunt, the St James Studio.  Ill be
appearing in a concert production of The Confession Room, an original British musical about a group of people who come together to spill their most embarrassing secrets and stories.  There are some fantastic West End faces lined up to take part, don't miss out!

More lining themselves up, but this will do you for now.  Mainly because my brain might start bleeding if I think much further ahead.  Anyone want to invent a microchip that will download song lyrics straight to my brain....?

Links to tickets

Emerging Artists at the Crazy Coqs
Snowdonfest
West End Fest
The Confession Room





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Giving up the Ghost

28/4/2014

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First of all, a disclaimer...

I have gone back and forth for days about publishing this post, because I am not in the habit of making my personal life public.  The relationship I have with social media has always been and will likely continue to be an uneasy one; whilst I'm aware that part, if not most of the attraction for those that subscribe to the likes of twitter is the desire for an insight into the personal lives of those they watch on stage or screen, the expectation that we can, should and will bare our souls to strangers, publish our thoughts and actions no matter how trivial, troubles me.  Surely we should all be out there simply living our lives as best we can, rather than obsessively documenting a glorified, 140 character version of it for the edification of strangers?

However; now my time on Ghost is at an end, having thought long and hard about it I feel I'd like to try to explain a little of what this particular show has meant to me and why.  A thank you of sorts, I suppose, to those who gave me this opportunity, to the wonderful companies I've worked with these last couple of years and to you, the audience, for showing up and sharing in the story.  For without you, truly, there is no story.

Just short of four years ago, I lost my boyfriend to suicide.  There is simply no way to put into words the impact of a loss like that in the lives of those left behind.  Your world comes crashing down around you and you are left staring at its shattered remains, mutely wondering how to begin to put the pieces back together.  Wondering if there's any point even trying, when the most essential piece is suddenly gone.

I remember the down the rabbit hole feeling of looking over my shoulder at home and almost shouting to him that I'd found the missing blender (earth shattering information after a recent disastrous attempt to hand-blitz breadcrumbs). Catching myself, realising it was one more useless piece of information he'd never know, was akin to being punched in the stomach.  I'd regularly pick up the phone to call him.  I wanted nothing more than to curl up in his arms and rant about just how fucking terrible it all felt; trouble was, the very person I was longing for, the only one who's comfort I really wanted, was himself the reason for this indescribable grief.  It made no earthly sense.

Not a day goes by when I don't think of him.  I wonder about the man he would be today, the dreams he might have achieved, the lives he would have touched.  The fact that I will never share another day with him, never see him growing older and wiser, never see my soulmate again; well, that's a brick wall I'm still running into from time to time today.  His death has been the single most devastating experience of my life.  For a long time, I pretty much just gave up.

But...  The wonder of what I am lucky enough to do; the wonder of theatre, of storytelling, is in its capacity to take us both away from ourselves and into our deepest self at the same time.  To allow us to tear a hole in our hearts and souls, examine what we find; our most unspeakable hopes and fears, truths and deceits, our glories and our shame and offer up what we excavate as truthfully as we can, that those watching might see elements of their truth reflected back at them, might even come away having gained something. 

What I do for a living has long been an emotional outlet for me.  And it has helped to keep me alive through this loss; alongside the unstinting, irreplaceable support of friends, family and colleagues, who have shown me more kindness and patience than anyone could possibly deserve.  It has allowed me to unleash the grief I was all but drowning in day to day and miraculously, connect with rooms of living, breathing people who were willing to share in that journey. 

No role has ever been closer to my heart than that of Molly Jensen, for what I assume by now are obvious reasons.  I have never so wholeheartedly identified with a character in my life.  As well as being a professional gift, she has been a personal godsend.  Through her strength, courage and fortitude in the face of tragedy I have been able to explore my own grieving process and feel I have, finally, truly begun to move forward.  It is no exaggeration to say that this show has helped me to heal and believe I could put my life and my heart back together.  Granted, the pieces fit very differently now, but fit they do.

I shall miss Ghost and the woman I've had the privilege of playing with all my heart.  I suspect roles that mean this much to you, both as actor and as human being, are a once in a lifetime piece of good fortune.  But whether that proves to be right or wrong, I can continue in this profession a happy woman.  My love for this particular job?  I will sure as hell be taking it with me.


P.S. Alex Holland is far, far from being just a postscript in my life story.  I could sit here and write about the man he was until the end of time and not come close to capturing the endless reasons he was so loved by so many.  The best possible insight I can offer anyone is to allow him to speak for himself.  Check out the link below.


www.myspace.com/alexhollandmusic

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Giggidy giggidy gig gig gig.....

12/4/2014

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WEST END FEST
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A few more gigs for you!

On Sunday 20th April I'll be heading to Colchester's Headgate Theatre to perform the music of Scott Morgan, alongside West End stalwarts including  Jodie Jacobs, Suzie Lowe, Oliver Savile and Cameron Sharp.  I'm really looking forward to getting my teeth stuck into some new musical theatre writing, so if you happen to be in or around Colchester that day, come on down!  Performances are at 2:30pm and 7:30pm.

Then on May 1st, I'll be performing with the Royal Philharmonic Orchestra at the 10th anniversary concert of Symphonic Rock; a concert I've sung at several times before over the years, alongside seven other fabulously talented vocalists. 
*FAIR WARNING*  We are very much backing vocalists rather than featured soloists for this gig...  Please don't come expecting to hear me or anyone else leading a song and then say I mis-sold you!  However, it's always a great night, if an evening of the RPO blasting their way through a set of classic rock and pop anthems by the likes of Robbie Williams, Bon Jovi, Meat Loaf, U2, Queen, Led Zeppelin and Eric Clapton in the glorious surroundings of the Albert Hall is your thing...

Finally, I'll be back at West End Fest at the Actors Church on June 29th.  These concerts have become something of an institution over the last couple of years; it's always a brilliant night.  The theme this time around is Summer Camp USA; all vocalists on the evening will be singing songs from Broadway shows yet to make it to the West End.  I'm already really excited about the songs I'll be singing...!

Plenty more gigs in the pipeline, which I'll fill you in on once I have more details to hand.  Reckon this is enough to tide you (and me) over for now!

Songs of Scott Morgan tickets
Symphonic Rock tickets
West End Fest tickets

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Upcoming gigs

26/3/2014

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So I'm finally home in London and back to my more or less usual routine of gigging whenever I can!

First up
on Sunday April 13th at the Leicester Square theatre is Words Shared With Friends, a launch concert for the upcoming album of the same name.  With music by various composers and lyrics by Robert Gould, the album features vocals from myself as well as a host of other West End performers and will be available for purchase from April 14th. 

The live show will include songs from the album plus some special bonus material – and will include some world premieres!  My Lands Shore fans will want to check it out...

Next up on Sunday April 27th at the St James Studio is West End Switched Off, again a launch concert for the upcoming album of the same name.  T
his is set to be the first in a series of albums that arrange musical theatre songs that you know – and a few that you may not – into unheard acoustic, ‘unplugged’ covers, collaborating with a wealth of talented musicians and performers.  The night will give the audience the chance to have an up-close and personal experience of some of the never before heard tracks on the album before the official release.

The St James has fast become one of my favourite cabaret spots in London so I'm delighted to be performing there again alongside some amazing talent!

Check out the links below for more information and to purchase tickets.  Hope to see some of you there!

Words Shared With Friends


West End Switched Off


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For Joanna, chapter 2

24/9/2013

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After a hugely successful concert last year we have come round to FOR JOANNA - CHAPTER 2.

On Sunday, Nov 10th on the Battersea Barge, we'll be providing an afternoon of music inspired by a wonderful lady who was cared for by the St Christopher's Hospice and in her name we are raising money for the charity.

An array of  West End Performers are singing including myself,  Jack Shalloo, Julie Atherton, Jennifer Tierney, Andy Coxon, Katie Paine, Stevie Tate Bauer, Owain Williams, Matt Elson, Andrew Bryant, Caroline Deverill, Charlotte Myers, Lauren Varnham, Brian McCann, Sabrina Aloueche, Thomas Sutcliffe, with more to be announced.

As last year, it promises to be a special day and you don't want to miss it!

Doors open at 1.30pm, show starts at 2:00pm.  I'm reliably informed that tickets are almost sold out already, so be quick if you fancy coming along!

To book tickets, click here

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