WEK performances to date include:  The O2 Arena, London 2012 One Year To Go Ceremony, Westminster Palace, West End Live, Royal Albert Hall, MOVE IT, The Savoy Hotel, St Pancras Int’l, Magic of Musicals, Starlight Wishing Party, Guildford Cathedral and Earls Court.

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I decided to audition for West End Kids two years ago after seeing their website on the Internet. I had a keen interest in singing and dancing but felt that I wasn’t being challenged enough at my local stage schools. An upcoming performance at the The O2 Arena also caught my eye!

Joe in That's How You Jazz

I was aware of the impressive venues that the company had previously performed at, so naturally I expected the standard of the audition to be high.  However I was still quite surprised at how tough the audition was, particularly the dance aspect. I had never had any formal dance training and was quite shocked at how quickly we were expected to pick up the routine!

I was absolutely thrilled when I was offered a place in the company and very excited for my first rehearsal. I was thrown straight in at the deep end in rehearsal for the upcoming performance at The O2 Arena. I was amazed at how professional and intense rehearsals were. We learn so much in just one rehearsal and at first I struggled to keep up! We have to put in a lot of work in our own time to practise harmonies and dances, but the hard work really does pay off, as I found upon taking to the stage at The O2!

Since then, words cannot describe how much I feel like I’ve improved as a performer through being with WEK. My confidence in both singing and dancing has improved in leaps and bounds; I find harmonies and routines much easier to pick up now and have developed technique in my singing. This would not have been possible without the creative team at WEK; both Martin Williams, WEK’s founder and artistic/musical director and Emma, WEK’s company director and choreographer are brilliant to work with. They put so much into the company and WEK wouldn’t be where it is today without their hard work, commitment and dedication.

One of the special things about WEK is that everyone in the company is so close. Everyone is so friendly and supportive, and not to mention extremely talented and dedicated to WEK! It is like we are a little family!

I’ve experienced so many amazing performances with WEK at some breath-taking venues such as the Royal Albert Hall, The O2 Arena and West End Live; but my favourite performances to date would have to be the London 2012 ‘One Year to Go’ Ceremony in Trafalgar Square and the Banquet at Westminster Palace. They are certainly experiences that I will never forget!

If you want to find out more visit www.westendkids.co.uk or check out WEK’s YouTube page which includes many clips of recent performances. WEK’s Facebook page also has lot of news and info about what the company is up to.

I’ve gained so much from my time at WEK and I couldn’t recommend it strongly enough for any young performer out there to have a go and audition!

My cue. I round the Harvard pillars and I am faced with the deafening roar of the audience and the beaming faces of my dear collegues. So much for trying to stay cool. I weep uncontrollably all the way through the bows.”

My last night with little Miss Woods, Elle and the beautiful cast of Legally Blonde in Sweden.

This is my first big lead in a musical. I have stepped into many people’s big shoes as an understudy but my first time being solely responsible for a big part. It’s definitely been a dream come true for me.

However, a lot of hard work lies behind most leading performers careers. With a little bit of luck on the side to be the right person for the right part at the right time!

College and training came first. I can’t recommend it enough. That’s where you get into a routine with your singing, acting and dancing and have the chance to fail spectacularly within the safety of the college-walls. You also get the chance to meet people from the industry and create a network of helpful contacts for later.

By Michael Bolin

I went to Mountview Academy of Theatre Arts. I did a one year post-graduate course. I had a blast! And quite a few blisters..

I was lucky to get an agent from my showcase at college. They subsequently put me up for what was going to be my first job, Mamma Mia in the West End! I was absolutely over the moon! I remember howling down the phone to my agent when she told me. I was ensemble and covered one of the girls. I think I learned just as much that year working as I did in college. Eight shows a week is tough. You have to learn how to build up stamina and preserve your voice.

I also used that year to keep up training on the side. I had weekly singing-lessons and went to Pineapple a few times a week. I still do now whenever I have the time and money to do so.  I think it’s important to always try and improve. You’re never a “finished product”. Keep working hard, keep being curious and keep going to see other things.

You always learn from watching other performers.

From then on my career has certainly been varied. I’ve played massive arenas all over the world on the first World Tour of Mamma Mia. Tiny pub-theatre spaces with three people in the audience, fringe, UK tours, adverts, cartoon voice-overs, more West End and Wembley Stadium. I’ve been British, Swedish, an animal, Russian, naked, South African, Southern, Northern and insane. But everything has been useful and has taught me more about this bonkers business. I have also met countless wonderful people and made friends for life.

Let’s also take a moment and consider all the jobs I didn’t get!

That’s also a huge part of the business. Rejections and no’s. But you have to learn to deal with that. And remember that you are always part of a bigger plan, you have to “fit the puzzle”. The casting directors want you to do well and be right for the part but often there’s a simple thing like age, height or hair-colour in the way of you getting a recall.

Getting Legally Blonde was a dream scenario. I got an email from a director in Sweden asking about my availability the following year. He said they were thinking of candidates for Elle Woods and my name had been mentioned. I told him I was free and interested. When the time came for auditions, I was in the midst of technical rehearsals for The Three Musketeers at the Rose Theatre in Kingston, and couldn’t make it.

By Michael Bolin

Luckily I had just auditioned for Legally Blonde in town and had been put on tape. That tape then found it’s way to Sweden and two days later I had an email saying they’d be delighted for me to be their Elle Woods..if I wanted to? I didn’t have to think about it for very long.

Sometimes you can audition 8 times and still not get the job, and sometimes you don’t even have to audition!

I’ve had an amazing time with this show. It’s a very demanding part with a lot of singing, high-energy and alertness all the way through.

I’ve learned a great big heap of things. How to preserve my voice, my energy, do mega-quick costume changes and being up-staged by a dog;)

I don’t think I could have done this ten years ago. I think everything that I’ve done in my career so far has shaped me into becoming a better, nicer and more highly skilled performer. I am more humble towards my profession now than I ever was and I appreciate how hard it is. I’ll remember this whenever I see a show from now on. The leading ladies and men are working their little socks off.

And remember to see people. Everyone around you who do their up-most to make you look good. Dressers, lighting crew, sound crew, stage crew, assistants, front of house staff, stage door etc etc. Everyone has a purpose and place. And nobody likes to work with a snooty or rude actress;)

But I think I’ve also learned to have more fun. Enjoy those precious moments in the lights and think about how lucky you are. In the back of the chorus, or centre stage.

We get to have so much fun at work! There’s no business like it. Don’t give up and keep chasing those dreams.

Bring on the future!

Visit www.kaisahammarlund.com for all Kaisa’a latest news!

If you are interested in guest writing for Stage Door Mag, email advertise@stagedoormag.co.uk

West End Kids is looking for outstanding male and female singer/dancers from the South of England to join its high profile song and dance troupe. Auditions are being held in Central London on Saturday, 7th January, 2012.

West End Kids is a centre of excellence for young performers who demonstrate exceptional ability for their age in the field of musical theatre. The company exists to develop this special talent in a challenging and professional environment, whilst providing practical performance experience.

West End Kids at Royal Albert Hall

In the past six months alone West End Kids has performed for tens of thousands of people at major events and venues, including: the London 2012 One Year To Go Ceremony, Westminster

Palace, the Royal Albert Hall, The Savoy Hotel, West End Live in Trafalgar Square, MOVE IT at Olympia, Canada Square Gardens, Earls Court and the Honourable Artillery Company.

Watch WEK at the London 2012 One Year To Go Ceremony

With many events already confirmed for 2012, including performances at Wembley Arena, Mansion House, The Scoop, MOVE IT, G LIVE and many more, there has never been a more exciting time to audition for West End Kids.

For further information about West End Kids and to register for the January 2012 auditions go to www.westendkids.co.uk.

The main event of the night, though, had to have been the rising young band EverYoung. The band is made up of 2 boys and 2 girls, they have the look, they have the voice, and they have the professionalism,  that will hopefully take them very far! I managed to get a brief catch up with Eyal, Jack, Hollie and Cherelle prior to their performance…

- How did EverYoung get started?

Cherelle: We formed about a year ago. We all met at the Sylvia Young Theatre School and our manager, Simon Hanning along with Sylvia Young decided to put a band together and we happened to be the line-up that they chose!

Left to Right: Jack, Holly, Eyal and Cherelle

-What has the band been up to recently?

Cherelle: We’ve spent the last year recording and writing music, and getting ready for tonight’s gig.
Jack:  Also, we’re doing our UK Warrior Schools Tour at the moment. We started in September and we’ve been all over… Cardiff, Leeds, Brighton, Essex, where Hollie comes from … basically everywhere! We’re having so much fun doing that and getting to meet so many people.

- I’ve caught some of the tour via Youtube, what’s been the highlight of the tour?

Hollie: I’d like to say there has been a huge moment, but the whole thing has been amazing, every school we go to is incredible but I’m guessing this night is probably going to be one of our highlights. West End Live was also incredible but every performance is so different and special, it’s amazing.

- What’s the next step for the band after the schools tour?

Eyal: We’ll be releasing our single called Warrior early next year around February,  so we’ll see what happen’s then. Hopefully we’ll then go on a radio tour promoting the single throughout 2012.

- How much has social media (Twitter / Facebook / Youtube) helped you?

Hollie: I think the internet completely helped some aspects of the music industry, and we really concentrate on it, we love talking to our fans and we try and reply to every message we get.  I don’t we would be where we are without social media.
Eyal:  Almost every young person is on Facebook or Twitter so we can reach out to every single person and hopefully get them listening to our music.

- What advice would you give to someone who want to do what you’re doing now?

Cherelle: If you’re really having fun with something, whether it’s singing along to the radio and you think that it’s something you would want to do, just see what your options are. Maybe join after school drama / singing clubs, that’s what we all did to start with. You then get to meet different people and hopefully it will just build. If it’s what you love doing, don’t be scared and give up, just go for it!
Hollie: Yh, just make sure you keep going, there’s gonna be some ups and downs don’t give up!
Jack: You never know what you might achieve, so just keep practising!

We wish EverYoung all the best with their single launch and the rest of the tour! We’ll hopefully catch-up with them again next year.

p.s. Merry Christmas SDM readers!

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Those who have witnessed the scale of Trafalgar Studios 2 will know it’s rather petite! The cast is of a mere nine members, alongside three musicians all set within a small, simple black theatre space with a minimum of three or four rows seated around the performance area. Everything is low key with zero extravaganza regarding the design (except maybe the slightly eccentric costumes, just to make it that little bit more wacky). But other than that, there really is nowhere to hide as the actor’s costumes sweep across your lap commencing from the entrance you strolled through yourself earlier, whilst also easily gaining the knowledge by catching many a glimpse of what underwear our actors are wearing that day.

And boy what fine actors they are. Every single one of them. And so they have to be. In such an intimate space, the audience doesn’t miss anything. The plot is an easy (yet enjoyable) one to follow. A possible one hit wonder author Bailey Howard (Benedict Salter) is struggling with writers block when to the rescue comes Cooper Fitzgerald (Steven Webb), a hilariously overpowering, not to mention, unplanned room mate. An ironic key and door whisks the unlikely pair away to a supernatural world where they embark on a heroic journey with, or against (depending on which sister), Lizzie Roper’s characters. Lost yet? Not to worry, that’s a good thing. Along the way, Bailey finds love in the form of a body-less head named Miranda (Ashleigh Gray) whilst Kelly Chinery, Peter Duncan, Will Hawksworth (be sure to not miss out on his Joan the Mute), Alyssa Nicol and Rob Wilshaw’s wild characters break into crazy, wonderful songs moving this colourful production along swiftly before our eyes.

The whole thing is plain weird, and yet I wouldn’t have it any other way. But what I positively believe holds all the crazy stuff together is the extraordinarily talented cast. Each one of them are full of quick wit and produce continual genuine, unpredictable, side splitting laughter which is sadly rare in the world of musical theatre. Many audience members are brilliantly supportive in wishing the production would move into a larger west end theatre which is great, but I honestly believe it is what it is, and that it should remain within its existing nature and further more pieces such as this should grow to be recognised and popularised in this industry. The field would prove to be more fun with playful honest productions like Betwixt! making a home for themselves in London’s west end.

Back to feeling the love for our cast members, what really should be noted is that they are, well, simply hilarious. The writers and team behind this show have produced a spectacle the actors thrive upon and the whole team has dangerously created an explosion of obscene hilarity. It is quite unreal just how notably funny Steven and Lizzie are. It’s actually quite haunting as these two artists in particular repeatedly retell their jokes inside your head long after the lights go down. To best describe it, it’s one of those embarrassing situations when you’re seated on a bus, playing out one of their characters many comical moments in your thoughts to then uncontrollably laugh out loud, only to realise you’re seated on that bus alone. But hey, it’s oh so worth it. You’ll also fall in love with Ben’s adorable character who, as an actor, is utterly overflowing with talent, as is the beautiful Ashleigh who comically reminds us of that outstanding voice of hers.

If I was to be fussy and dish out anything I would like to see change, it would be the absence of an increased interaction with the audience. For such a small space I feel that the show would benefit by acknowledging its audience further, inviting us to laugh with them, not to ourselves. Up the ante on that, and we’re all yours. However, what’s great about Betwixt! is that you don’t have to understand it, that’s the beauty. You just have to sit in those big red seats and allow comic genius to take hold. The musical’s played down simplistic environment let’s you feel like you’re part of the creation process in a satisfying whirlwind of entertainment randomly plonked in front of you. I gladly take my hat off to all behind the creation of this funny business and would return in a second with the proud knowledge of perhaps producing even more laughter; there really is something for everybody at Betwixt! A promising future for theatre! With only a few days left, do not miss this uplifting, hilarious display!

Breakthrough Fringe act, Modus Operandi, present their second project at the Edinburgh Fringe Festival this season; a witty new musical conquering the trials and tribulations of a common pastime – fighting to find your dream job. The highly acclaimed company previously appeared at the Fringe in 2006, premiering the widely successful ‘an Asylum on Every Corner’, which went on to open the inaugural Bucharest Theatre Festival. Labelled “charming and whole hearted” by Time Out magazine, the comedic theatre company are certainly not ones to be missed this season.

‘Apply Within’ amplifies the very essence of a traditional working life – the company remain totally devoted as their adverts request ‘audience members for new comedy-musical about job hunting’. They go on to describe ‘the successful candidates will follow our hero Joe, hurled by unexpected redundancy into a world of CVs and applications, waiting rooms and interviews, rejections and  humiliations, near-triumphs and tempting offers, all in his quest for his dream job and – maybe – the love of his life?’

‘Your job will involve enjoying daft skits, a dash of romance, and ten new songs including “Economical with the Facts”, “Chill Out or be Jobless for Life” and “Deal of a Lifetime”.

Highly reputable Fringe reviewers, Broadway Baby, playfully claim that their ‘application (was) successful’ upon seeing the show. They furthermore claim that the lead, Johnjo Flynn ‘was a real winner’ claiming ‘it gave me goose bumps’. They conclude that ‘there is a real sense of character commitment and engagement from the cast’ – a show that clearly shouldn’t be missed.

The new British musical features at the Edinburgh Fringe from the 3^rd – 29^th August, 1:30-2:30pm at the Pleasance Courtyard.  For more information contact the Pleasance Box Office on 0131 556 6557, or you can book tickets online via www.edfringe.com

Warning – tissues required, this one’s certainly a tear jerker! Amidst the depressing times of the disgrace that is the London riots, this phenomenal piece of theatre does an astounding job of sweeping you off your feet and forgetting about the world for a couple of hours. Incredible as the experience was, my only disappointment was that I wished it had gone on for longer. Please don’t hesitate when considering the hype that surrounds this musical, this is a once in a life time must see!

Having caught clips here and there as a child while the 1990s film was at its peak, I decided to sit down to it in preparation for the show, simply to appreciate it as the classic it was and is; some healthy research if you will. Before setting foot inside the Piccadilly, my first ‘note to self’ was to intentionally ensure the separation of these two creations, and how right I was. ‘Ghost The Musical’ is a credit in its own right and deserves every praise for the spectacle that it is. Due to my experience of trailers and television clips of the production, my initial thought whilst seating myself was that of small surprise as I wondered the possibilities of producing these so called spectacular tricks and illusions in quite a small space. How wrong I was this time. The moment the first note was played by the orchestra while the glimmering screen projection worked its magic, I knew immediately that I was in for a treat.

‘Ghost The Musical’ is of course based on the film creation, but this is an insignificant detail that is lost straight away as this stunning piece of theatre stands on its own two marvellous feet. The story goes, two lovers Sam and Molly suffer pain and grief when Sam is murdered and has to deal with unfinished business in this romantic whirlwind, as a ghost. As a first note, I must give a resounding applause to illusionist Paul Kieve who really has helped shape this show’s wow factor. This was the one aspect that was at the centre of all conversation by the exiting patrons. ‘How did they do that?’ is a question I’d rather not hear the answer to, the magic produced was perfect, even when seated in the stalls with barely a piece of string in sight. What to expect? Walking through solid objects and leaping from your own body multiplying yourself on stage. Impossible? I tell no lies.
What delighted myself most about this musical was its developed quality; this is a new piece of theatre with plenty of style. The choreography in particular states this loud and clear as choreographer Ashley Wallen interjects contemporary excellence with hints of street on varied occasions, but also pursuing a traditional attribute in the form of a tap dance. If I had to be picky, I’d admit I did have some trouble adjusting to the randomness of the tap sequence/song interrupting the character Sam’s frustration, but as the scene unfolded it took its place in promoting the action and feeling of the characters which was certainly felt by myself.

Before I discuss the wonder that is our main characters, I must prioritise a mention regarding the set. Three screens is all it takes with a few pieces of furniture, revolving like no other set I have witnessed in a long time. The range of action this set projects is of a gobsmacking quality, rapidly moving the story line along in the slickest of fashions. The modernised tech work and projection really stamps its mark on the musical announcing ‘this is what I am, and aren’t I one technical, theatrical marvel!’ Due to the high standard of backstage and technical production, you are immediately warped by the show and wrapped up in the experience. On hindsight, an incredible amount of detail goes unnoticed and it all moulds into one big dazzling visual.

Finally on to our cast, and my goodness does Richard Fleeshman (Sam Wheat) shine the brightest. I struggle in shock to describe the wonder that is this actor, but to say I was blown away is an embarrassing understatement. I am astonished at the amount of the character’s emotion that is transferred to our own hearts by him, and considering the young lad has never entered into the usual training most actors opt for, his raw talent is just perfect for this piece of theatre. Equally magnificent is of course Caissie Levy (Molly Jensen). Even the knowledge that this lady has played a most wonderful Elphaba on Broadway cannot prepare you for the sensation that she is. Her talent is effortless and it is incredibly difficult to not believe in her. What a privilege to have experienced her grace the stage. When I wasn’t sobbing, I was revelling in the comic genius that is Oda Mae Brown, otherwise known as Sharon D Clarke. Such a heart warming, captivating actress yet ever so gifted in creating vast amounts of laughter, as were her two side kicks Jenny Fitzpatrick (Louise) and Lisa Davina Phillip (Clara). The face, the voice, the charisma, Andrew Langtree who plays the role of evil Karl portrays the character’s betrayal with such style, you are promptly intrigued by the depth of this persona; just pure brilliance. The ensemble did more than a grand job, such beautiful talent doing the show wonderful justice and some brilliantly distinctive characters throughout. Due to such exquisite stage presence, you are bound to notice Emily Hawgood who shines through her ensemble status.

Other mentions include that of the subway scenes which are particularly endearing alongside a clever piece rapped by a subway ghost, action packed ensemble banker scenes and the connection of the two acts, pulling you in immediately forgetting there ever was an interval. The score of the musical is absolutely stunning. Each song belongs there and connects to the audience in every way it intends to. The track that stuck with me long after the show was the touching and beautiful ‘With You’, a song made just for Caissie it seems. A chilling reminder of ‘Unchained Melody’ makes a well deserved appearance resulting in a tender duet between Richard and Caissie. The production as a whole is thrilling, explosive and immensely powerful leaving yourself and the theatre trembling as the curtain goes down; what an atmosphere. Emotionally gripping and you are wholeheartedly rooting for these two lovers. And without sounding too cheesy, from start to finish, you believe.

X-Factor was a long time ago can you give us a brief outline of what you have been up to since then?

I went on a three and a half year whirlwind tour with G4, it had amazing success and then after four years we decided to call it a day and in 2007 we split. I was then very fortunate that a bidding war happened for me with a record company so I’m now signed to Universal Records and have released two albums, the first of which went straight to #1 in the classical charts, top ten in the main charts and the second one was a huge success as well. I had a great time in the record industry, and more recently gone into theatre, taken a musical theatre role in Whistle Down the Wind. I’v taken an acting role in Beauty and the Beast as well so it’s just been a really exciting theatrical experience recently. It’s been varied and exciting.

So you got a one million pound record contract, how many records have you sold and how does it feel?

It’s unbelievable, I mean combining G4 and myself its over two million albums which is just ridiculous! It’s so hard to get your head round the fact that that many people have your records in their houses and their cars and listen to it and you’ve connected with them. It completely blows your mind and I’m just excited and flattered that I have had that opportunity in my career.

Do you still talk to the guys from G4?

Yeah, we are still great friends! In particular Mike, he still lives just down the road from me in South West London and we still try and meet up as much as possible. It’s lovely to hang out without the pressures of work.

Please tell me where did you train?

At the Guildhall School of Music and Drama and where embarrassingly the G from G4 came from! The four of us were studying there at the time and I put the group together as a side line to get some extra money for bar bill and rent and thankfully it became a bit more.

When did you find out you were going to do a solo tour?

I found out early this year, it was really exciting when a promoter had a discussion with me about doing it and it all came together very quickly and we hit the road not long after that.

How did Helena Blackman, Olly Taheri and Thomas Oliver get involved with the tour?

Olly and I worked together on Whistle Down the Wind and I thought he was great in that and we bonded really well. He was a “newbie” from college and it was my first musical theatre role and we just clicked, so it seemed the obvious choice to get him on board. Helena and I were fortunate enough to duet at her debut album and it just seemed like a great opportunity to incorporate some lovely duets and theme our voice in the mix. Thomas came highly recommended from a colleague of mine, and he had recently worked with Hayley Westermon on the tour with her and he’s not let me down! So that’s the reason we’ve got the three on board.

Fantastic, what’s the tour been like so far?

It’s been great, its been hectic the journeys and the travelling between is very tiring, but it’s been really good fun and we’ve worked very hard. The audience has really enjoyed each of the shows and it’s been a real delight to play at all the venues we’ve been to.

How did you feel when you got told that you’d sold out the Royal Albert Hall?

It’s crazy! It’s one of those mad feelings to realize that so many people want to come and watch you do what you enjoy, and it’s hugely flattering, exciting and humbling.

What advice can you give to young performers that want to be Singers, Dancers etc?

Go for it! Ultimately if that’s what you want to do and that’s your dream and your passion and you genuinely believe you’ve got a talent and a skill then do. It’s always sad when people believe they have a talent and that’s only because their Aunty Doreen’s heard them singing a few times in the living room, but actually they’re dreadful. So if you’ve actually got a talent and you believe in it, and you think you’ve got something that the audience and wider public would enjoy then go for it. Don’t be scared of all the reality TV shows and the potential negativity that some people think against them, it’s an opportunity to expose your talent to the wider public and hopefully start a career for you. It’s an amazing thing to do and it’s well worth it so go for it.

You said there about reality TV shows, you did the x-factor, what advise can you give to our readers about doing something like x-factor or Britain’s got talent and would you recommend it?

I highly recommend going for it and the advice that I’d give is when you’re on the show, remembering that it’s a TV show, it’s not actually a talent contest, although it seems to be. Ultimately, they’re trying to make good television, so if you can somehow enable your ability/skill/talent to ride through that TV format, then the sooner you can get your head round that the better. But ultimately just enjoy the process and experience and the potential opportunities that can come from it. It’s an amazing transformation of your life if you manage to get through, particularly to the finals.

What would you consider your biggest achievement within your career?

Well I think the most amazing experience for me in my career was performing at the festival of remembrance at the Royal Albert Hall, in front of Her Majesty the Queen. It’s always been a dream of mine and for many performers to perform in her presence. As I stepped out onto the stage, she was there in her Royal box and I was completely humbled and in ore of that experience and I think it’s something that will stay with me forever.

What have you got planned for the future?

There’s another series of shows, into the autumn, which is an intimate tour that I’m heading round the country with which will be great and another opportunity for people to see me in a different light. And with that there’s going to be a BBC radio presenter journalist that’s going to be interviewing me and going through some life stories and its going to be a lovely relaxing evening, so that’s coming along. At Christmas I’ve got a pantomime which will be a good giggle, I’m playing  prince charming in Cinderella in North London so that’ll be really good fun, looking forward to that. And there’s all sorts of other things that’ll possibly come up in the diary as well, Its an exciting various career as ever, it keeps me guessing as much as the audience.

How do you get involved with tours, I mean its all very well going out and doing a show and going to an audition for a West End show, but a tour is so much different , so how do you get involved with tours?

Ultimately you need a promoter to financially back it, and then you have to conceptualize it and work out the style that you feel would work with it and work out the order and structure of it. Then you need a line up and then the show makes shape and develops in its format. Its not an easy thing to do, it’s ultimately you just on stage performing your music, and its about capturing the audience and taking them on a journey that they’ve gone on when they go to see a musical theatre production or a play, the highs and the lows of the drama. You have to create that through the music and that’s a difficult challenge but the sort of thing that’s rewarding when you manage to get it right.

At Stage Door Mag we always ask the same question at the end… What most inspires you?

What most inspires me? Blimey, I like a deep question so ill try my best to answer. Working with Tom, Olly and Helena? Oh gosh what inspires me… To be able to step out onto a stage and to engage with a live audience it inspires me to get up every day and do what I do, potentially that is the start to it.

For more info on Jonathan and how to get tickets for his tours and events, visit his website - http://www.jonathanansell.com

Information

• Aspiring writers of any age and ability are asked to write a one-act play in English (20-40 minutes in duration) for young people, either for performers 11 years and under or for an audience of 12-16 year olds
• Winners in each category will receive £1,000 and will have their play published
• Prizes will be presented at an inaugural performance of the winning plays at a theatre in central London.
• Travel and accommodation expenses will be covered for winners who are attending.
• Runners-up receive a prize of £500
• Entry fee £10 (£20 if you want feedback from the judging panel)
• Closing date 1^st September 2011

• For an entry form and more information about the judges and the competition please see: http://www.trinitycollege.co.uk/playwriting

The competition is being held by Trinity College to bridge the gap in contemporary drama for young people. Despite an escalation in contemporary literature for children – from the realism of Jacqueline Wilson to the imaginative world of J.K. Rowling – there has been no similar growth in contemporary plays. Playwrights trying to feed the gap often end up adapting popular novels and folk stories rather than writing something new.

The Judges

The plays will be judged by an international panel of playwrights and directors including:

John Gardyne (chairman): Chief Examiner in Drama and Speech subjects for Trinity College London. John Gardyne is also an award winning playwright and former director.

Anna Home: former head of the Children’s Department at the BBC and currently Chief Executive of the Children’s Film and TV Foundation.

David Wood: British playwright who has written over 50 plays for children and won a number of awards for his screenplays.

Cate Fowler: founding director of Windmill Performing Arts, Australia’s flagship theatre company for children and family audiences.

Anupama Chandrasekhar: the Chennai based journalist turned playwright author of ‘Outgoing’ and ‘Disconnect’ both of which premiered at London’s Royal Court Theatre. She is currently working on a new adaptation of the Snow Queen for the Unicorn Theatre.

Paul Wai Sum Pum: playwright and creative writing teacher from Hong Kong.

Last year’s winners came from England and South Africa with runners-up from Hong Kong, India and Australia.

Commenting on the competition Anupama Chandraskhar said: “Children’s theatre is a unique art form, exhilarating and challenging in its own right, but often treated as an ugly sister to its adult counterpart. Trinity Guildhall International Playwriting Competition must be lauded for celebrating this important genre and for giving it and its practitioners the status and spotlight they deserve.” She said that she was looking in the plays submitted to the competition for ‘inventiveness, freshness of perspective, vigour and an engaging story’.

Paul Wai-Sum Poon said: “This is a timely and invaluable platform for playwrights aspiring for cultural dialogue with young people over the world. I look forward to seeing works which are inspiring, engaging, and can make me feel young again.”

Bridging the Gap

What’s normal? That’s the sort of question a lot of young teenagers ask themselves as they begin to explore the wider world around them and it was the theme of the winning play in Trinity College London’s inaugural playwriting competition in 2010.

“The plays relevance to young teenagers is one of the reasons it won the competition” said John Gardyne, Chief Examiner in Drama and Speech at Trinity College London  “And the fact that it was an amusing and engaging script: a serious theme dealt with in a light hearted way.”

The success of the play, which has now been published by Trinity College London, and the ongoing dearth of good plays for schoolchildren have persuaded Trinity College London to make the playwriting competition an annual event.

“This year we are not just asking writers to write for young audiences but also to write plays for younger children to perform.”

The competition is being held by Trinity to bridge the gap in contemporary drama for young people. Despite an escalation in contemporary literature for children – from the realism of Jacqueline Wilson to the imaginative world of J.K. Rowling – there has been no similar growth in contemporary plays. Playwrights trying to feed the gap often end up adapting popular novels and folk stories rather than writing something new.

“There is a frustrating lack of new material for schools and young drama groups and as a consequence we constantly get calls from schools asking for advice on contemporary material,” said John Gardyne. “Up until now I have had very little to offer them outside of the traditional children’s plays that they have been performing for the past ten or twenty years. Lots of great new books for children have been written addressing contemporary issues, inspiring their imagination and encouraging them to read…but there are not enough great new plays.  New plays for young actors have been particularly thin on the ground. We are hoping to change that.”

‘The Beggar’s Opera’ by John Gay may not seem like the first choice of production to go and see as an aspiring young performer. After all it is an opera, written in 1978, which satirised Italian opera and attacked Sir Robert Walpole and his corrupt government- not quite the allure of a big hit West End musical. However, though Lucy Bailey has decided to stage this production in its original period, the themes are timeless. It is a musical about a money obsessed society, self-interest and a fascination with celebrity and crime; a combination that never fails to captivate. So while the costumes, set and vocabulary may cry out ‘18^th Century’, the comparisons with our own modern day lives are quite apparent (despite there being no mention of the word ‘super-injunction’).

Flora Spencer-Longhurst, playing the naïve Polly, and Beverly Rudd playing the tough and streetwise Lucy, delivered fantastic performances laced with humour, jealousy and spite. Their on stage chemistry was a treat to watch, particularly the scene in which Lucy attempts to poison Polly. David Caves’s Captain Macheath was similarly strong. He oozed arrogance and his insatiable sexual appetite was gloriously depicted as on more than one occasion he frolicked with several women of a dubious nature. Janet Fullerlove’s Mrs Peachum was also incredibly entertaining. Her energy and personality filled the park as she berated her husband and tried to coax information from young Filch (Oliver Hoare) by placing her hand down his trousers. The casting was superb.

Musically it is important to note that ‘The Beggar’s Opera’ is a ballad opera (lyrics set to popular tunes of the time) and a satire of the Italian operas that were in fashion during the 1700s. Hence, while the songs were well sung, and the ensemble pieces such as the highwaymen’s chorus were incredibly stirring, they were not a highlight of the show. The music itself however, was delightfully authentic. Performed by ‘The City Waites’, a band renowned for its period instruments, the harp, lute and curtal really transported the audience to the 18^th Century setting.

William Dudley’s set seemed to spring organically from the natural surroundings and the chains and nooses that adorned the wooden frame maintained the ever present shadow of crime and punishment. Two ingeniously designed oversized wooden carts served as the walls of Newgate prison, even a bed at one point, before eventually being used to transport criminals to their death. The final climactic scene was very impressive and used all of the nooses, proving the actors all had extreme faith in Dudley’s design.

A fantastic story, brilliant set, a beautiful location, strong performances and even the occasional bird swooping through the sky. This is definitely a production that will inspire and prove just what can be achieved when such talent and intellect join forces. Lucy Bailey’s ‘The Beggar’s Opera’ is a must see.

Go see the show! http://openairtheatre.org/production/thebeggarsopera

Tears of sorrow and laughter

The Apollo is a wonderfully intimate venue and Julie opened with a fittingly intimate rendition of the title song, ‘No Space for Air’. This emotionally driven opening could have set the tone for a sombre evening but Julie’s effortless ability to flip between intense sorrow and comic brilliance soon revealed itself in the form of ‘Taylor the Latte Boy’, as voted for on her Facebook page. Julie joked that many of the audience probably weren’t even aware of the poll; the ensuing laughter suggested this to likely be the case. Regardless, the song was performed with such understated comic precision that the audience was howling with laughter from start to finish. The first act concluded with a similarly hilarious performance of the YouTube viral hit ‘Portrait of a Princess’, for which Julie was joined on stage by its British composer, Michael Bruce.

The second act saw the much anticipated appearance of Kate Monster, performing a humorous version of ‘Last Night of the World’ with special guest Richard Fleeshman. As the duet came to an end Kate Monster tackled Fleeshman to the ground in a tirade of kisses that were reluctantly received, providing a great little sketch to set up the Avenue Q hit ‘There’s a Fine, Fine Line’.

No Space For Air Album

The album

The show was very much about promoting Julie’s album ‘No Space for Air’, made apparent by the numerous members of here promotional team trying to sell copies before the show, during the interval and on the way out at the end of the evening. Fans of Julie’s musical theatre work were left wanting more and there was a sense that she had poured more of her heart and soul into performing her album tracks. That said there were some fantastic stand out tracks, in particular ‘I Never Saw Blue Like That’ and ‘Lost in Translations’. No doubt Julie’s fans will be flocking to buy the album, ‘No Space for Air’.

Special Guests

All of Julie’s special guests were popular and were greeted on stage to much applause. Fleeshman showcased his talent on the piano as well as his vocal skills with John Legend’s ‘Ordinary People’. His voice was passionate and rich and it wouldn’t be surprising if he tried some big band classics in the future. Ex-S Club 7 turned West End performer Jon Lee took to the stage with a rather underwhelming performance of ‘Make You Feel My Love’. Such a well known pop song felt a little out of place at an event celebrating exceptional and theatrical vocal talent. Jon went on to duet with Julie on ‘The Next Ten Minutes’ which was a much improved demonstration of his skill. Paul Spicer, Julie’s co-star in ‘The Last Five Years’ would have made an obviously better Jamie on the night and the audience could be forgiven for feeling a bit cheated as he was in attendance, just not on stage. Whatever concerns these minor criticisms may have stirred were swiftly forgotten thanks to the appearance of Emmy award winning composer Lance Horne for Julie’s rousing finale.

The show must go on

There were a couple of moments where Julie really shone as a master of live performance. Not only were her anecdotes between songs playful and funny, including a brilliant tale about the Beckhams walking in on her changing after a show, she effortlessly incorporated technical slip-ups into her routine. A comic flick of the eyes was all it took to fill the theatre with laughter when the spotlight was knocked. And then realising she had forgotten to take off her radio mic after Kate Monster’s appearance Julie had no qualms with telling the band to keep playing while she ran back over to the wings, all the while interacting with the audience and generating laughter. It’s the combination of her incredible voice and these human touches that makes her such a popular and loveable performer.

Look out!

Julie also teased the audience by singing a song from Douglas Irvine’s upcoming new musical ‘The Busker’s Opera’. It took full advantage of the guitarists’ talents and was very well received, so look out for it!

Julie Atherton is truly an inspiration in the West End. Any young aspiring performer should see her perform or at least listen to the way she not only sings her songs, but acts every emotion too. The band was a mix of classical and electric and was incredibly slick. Backing singers Tori Allen-Martin and Amy Stanley enhanced Julie’s voice at all the right moments and the choir added an extra emotional dimension to an altogether brilliant performance. It’s just a shame it was a one off!

If you’d like to learn more about Julie Atherton then visit her website www.julieatherton.com

No Space for Air is available to buy/download at www.amazon.co.uk and on iTunes.

Best known as a member of the chart-topping pop group S Club 7, Jon has more recently forged a successful theatre career, playing Marius in the West End production of Les Misérables, and the Landor Theatre’s acclaimed production of Tomorrow Morning, in which he starred alongside Julie. He is currently appearing in Jersey Boys at the Prince Edward Theatre, as the alternate Frankie Valli.

Related Article: Julie Atherton to perform her biggest solo concert yet

Information

When:                  Sunday 26th June – 7.30pm

Where:                 Apollo Theatre, Shaftesbury Avenue, London W1D 7ES

Tickets:                 £25.00, £20.00, £15.00, £10.00

Box Office:          0844 412 4658 (24 hrs)

Website:              www.nospaceforair.com

If you’d like to learn more about Julie Atherton then visit her website www.julieatherton.com

No Space for Air is available to buy/download at www.amazon.co.uk and on iTunes.

Shrek the musical has opened at the Theatre Royal, Drury Lane, on 14^th of June. This brand new musical, failed to establish itself on Broadway, but is giving itself ago in London. Taking a step out from the ordinary is Amanda Holden as Fiona joining Nigel Lindsay who is cast as Shrek, spending the next few months in the swamps of Drury lane. But was it all a fairytale…

Lord Farquaad

The costumes throughout ‘Shrek’ were incredible and so expressional, they bought the fairytale characters to life and were very believable. However nothing can be torn away from Lord Farquaad’s costume, played tremendously by Nigel Harman (usually tall). He is required to walk on his knees the entire show with fake legs dangling in front of him, it portrays a very funny character which sometimes can be misleading as he is meant to be the villain of the show. Despite this, Nigel Harman was the star of the show with his inventive portrayal of the part.

Nigel Lindsay was the talk of the night, but not for the reason you’d expect after seeing him starring in a west end show. He is very well suited to the role in looks but his obvious lack in accents let him down, what started off as a strong Scottish accent  soon faded into neutral. Richard Blackwood also let the role of what would normally be an extraordinarily energetic donkey. It was very clearly lacking in hilarity and enthusiasm.

Fiona and Donkey

The scenery was out of this world, it is said to have been scaled down from the Broadway show, but if you hadn’t seen it you’d never have known that was less. The dragon took the audience by surprise when she flew down from the upper circle to enter, talk about making an entrance!

The accompaniment set the mood amongst the audience, especially ending with the all time favourite ‘I’m a believer’ which had everyone on their feet singing along.

Overall I think Rob Ashford did an incredible job of directing Shrek on Drury Lane.

Stay Tuned for interviews with the cast!

The Show

Julie and her guests will be accompanied by a live ten-piece band and on-stage choir. Emmy Award winning composer Lance Horne will also make a guest appearance to accompany Julie for two of his songs. And as if that wasn’t enough Brit composer Michael Bruce will helm a performance of Portrait of a Princess – the song he wrote to showcase Julie’s natural comic ability.

Fans of Atherton’s stage performances need not fear either, the concert will feature songs from Avenue Q, The Last 5 Years and Ordinary Days. And be prepared for some totally unexpected numbers to receive the unique Atherton treatment.

A Young & Prolific Star

Best known for creating the roles of Kate Monster and Lucy the Slut in Avenue Q, and her role as Cathy in Jason Robert Brown’s The Last 5 Years, Julie is one of the most prolific and successful young musical theatre stars in the West End, having previously played Sophie in smash hit Mamma Mia! and Serena in Fame. She is also an experienced concert artist, having headlined numerous musical engagements at venues as diverse as the Donmar Warehouse and the Royal Albert Hall.

Julie launched her second solo album, No Space for Air, at the Delfont Room at the Prince of Wales Theatre in June 2010, following which she made her North West solo debut at Manchester’s infamous Band on the Wall. Prior to her performance at the Apollo on June 26^th she will be performing two exclusive acoustic sessions of her album at The Pheasantry on the Kings Road in Chelsea.

Star Studded Support

Daniel Boys is an award-winning performer whose career encompasses TV, West End musicals, national tours, and numerous concerts and recordings. His appearance on the hugely successful BBC TV talent show Any Dream Will Do in 2007 firmly established him as one of the UK’s brightest emerging musical talents. He is currently performing in Australia at the Adelaide Cabaret Festival before returning to the UK for Atherton’s one night extravaganza.

Richard Fleeshman first came to public attention in the cast of Coronation Street at the age of 12. In 2006, he won ITV’s Soapstar Superstar, raising his profile as a singer. He has since played the lead role of Warner in Legally Blonde in the West End and appeared in the BBC series All The Small Things. He will soon return to the West End in the highly anticipated world première production of Ghost the Musical, which has just completed a successful run in Manchester.

Julie Atherton: No Space for Air is produced by Neil Eckersley & Paul Spicer for Speckulation Entertainment.

Information

When:                  Sunday 26th June – 7.30pm

Where:                 Apollo Theatre, Shaftesbury Avenue, London W1D 7ES

Tickets:                 £25.00, £20.00, £15.00, £10.00

Box Office:          0844 412 4658 (24 hrs)

Website:              www.nospaceforair.com

If you’d like to learn more about Julie Atherton then visit her website www.julieatherton.com

No Space for Air is available to buy/download at www.amazon.co.uk and on iTunes.

Based on the five elements of the Monkey, Fourth Monkey’s Year of the Monkey is a contemporary Rep Theatre Company and training programme with a difference.

Auditioning in June 2011, for a September start, this is a yearlong part-time training and performance programme that commences with a London season in October 2011 and concludes at the Edinburgh Fringe Festival in August 2012.

Casting Director Kerrie Mailey said, “Year of the Monkey is unique. It offers immediate performance experience on the professional stage, combined with immersive, thorough and liberating training. The Year of the Monkey is a fundamental year in any young actor’s career.”

Fourth Monkey is auditioning for 27 young actors to take part in two Rep Seasons of six plays in London and at the Edinburgh Fringe Festival whilst undergoing tailored part-time training in the following:

Bikram Yoga, Alexander Technique, Voice, Laban, Stage Combat, Singing, Movement, Short Film, Shakespeare, Clown, Drama School Audition Prep and more…

Whether a gap year between education establishments or as a year-long, extended learning and development course, the Year of the

Monkey provides the young actor with a unique and specially tailored training opportunity with a difference.

Fourth Monkey is currently accepting applications for this exciting and innovative new programme. For further information on the project and how to apply, young actors can visit the Fourth Monkey website…

www.fourthmonkey.co.uk

For further information on this release, please contact:

Steve Green
Artistic Director
Fourth Monkey Theatre Company
office@fourthmonkey.co.uk
07956891977

The biggest news I suppose is that we’re are going to be re-branding Stage Door Mag with new logos, flyers, website etc. (you may have already seen our new logo on twitter and facebook!) Here’s a preview of some of the new stuff…

The new logo

The new logo again (alternative colours)

New Website (In development)

Yeh yeh I know the new site has got a long way to go, but you get the concept! Please let us know what you think below in the comments!

Next, I’d like to just mention the success of the [Control.] Launch at Pineapple last month. We were invited to cover the whole event, do interview etc and it was AMAZING! We met so many inspiring people including Daniel Black from Skins, singer David Jordan and ‘Queer Eye for the Straight Guy’ present Julian Bennet! You can out all of the coverage at our Youtube channel. We wish Kane Ricca the very best of luck!

Finally, I want to mention the incredibly positive response we’ve had recently. Iv been doing the twitter thing quite a lot recently (we now have a totally awesome 1230 followers!) and its going great! Twitter allows us to immediately post updates so if your not already, be sure to follow us.

Finally, I want to show you something I randomly stumbled upon yesterday from a blog…

“Stage Door Mag is another London-based project (is anyone still wondering why I am going to move?) I really like. Again young talented people and again theatre. It doesn’t involve me directly because I don’t want to be an actress so they’re not going to save my life but I think it’s great to help people find a definite path to reach their goals. I have often been in need of a guide and having had someone like them to lend me a hand would have been a real blessing. So I approve and support.”

Amazing! This is why we do it, to inspire and guide young performers, so the fact that our message has been noticed means a lot!

Stay tuned for more updates, articles, interviews, reviews…. you know what I mean!

P.S. Be sure to check out West End Live, you may very well see us their

Keep checking back below for all our coverage…

Launch of Kane Ricca’s [Control.] Live at Pineapple Dance Studio’s

Hot Ride by The Trust

Judas by The Faith

Full Interview with Kane Ricca

Interview with Sophie Stuckey

Interview with Charlie Evans

Interview with Daniel Black

Modules at PQA include Comedy and Drama, Musical Theatre and Film & Television which teaches students about the different acting styles required for camera work.  Students at the Academies also learn how film and television productions are created, and get the chance to take part in frequent specialist Masterclasses, which include stage combat, clowning, junk percussion, street dance and even casualty make up.

Parents are able to monitor their child’s progress through PQA’s unique Creative Stages Awards scheme, which recognises their achievements and records their progress. Parents can also watch their children at performances throughout the year, which include a red carpet screening of student film premieres at local cinemas. In addition, a number of lucky Academies are selected each year to take part in the prestigious PQA West End season at a top London theatre. PQA students are also eligible to join Quirky Kidz, a creative management agency exclusively representing students who wish to be considered for professional jobs in theatre, television and film.

Principal of PQA Leicester, Karen Stevens has worked as a professional actress since graduating from Middlesex University, in 2002 with a degree in Theatre Studies and Technical Arts and has experience of performing both on the stage and in front of the camera, and has even tried her hand at stand up comedy!

Karren said to us ‘We are very excited to launch a new PQA in Wigston, particularly since South Leicestershire College is a brand new state of the art building which has its own purpose built TV studio which will come in very useful for our students! We hope that the new Academy will instill children in the area with a love of the performing arts and give them the opportunity to try something new’.

PQA hold classes every Saturday at South Leicestershire College from 10am – 1pm, PQA have a very warm and inviting atmosphere with a well trained teacher, the classes run for just £7.50 per student.

For more information check out  www.pqacademy.com or call 08456 732022.

Renowned for diversity and cutting edge training by industry professionals, Urdang graduates are constantly in for West End and dance leads. Based close to Sadler’s Wells in central London, the Urdang Academy is fast becoming  the UK’s first choice for training  in Dance and Musical Theatre.

Managing director of Urdang, Solange Urdang was highlighted in the report being described as “providing inspirational leadership”

Our writers spoke to Solange Urdang today who commented on the report saying  “At the Urdang Academy we are dedicated and committed to continuous improvement, always providing the highest possible standard of training.  We are delighted that this has been recognised with the findings of the recent Ofsted inspection.  The report represents a clear endorsement of Urdang’s ability to offer the very best learning experience and is a very fitting testament to the hard work put in by both staff and students alike on a daily basis.”

The Ofsted inspection report compliments the Urdang Academy in many specific ways, including: -

JULIE ATHERTON - “Musical theatre is in safe hands when promoted as brilliantly as this.” – Mark Shenton

Sat 4th & Sun 5th June

West End star Julie Atherton creates a completely unplugged re-working of her acclaimed album No Space for Air to celebrate the first anniversary of its release. Best known for creating the roles of Kate Monster and Lucy the Slut in Avenue Q, and her role as Cathy in Jason Robert Brown’s The Last 5 Years, Julie is also the star of the international YouTube sensation, ‘Portrait of a Princess’.

HELENA BLACKMAN - “She gives a sparklingly assured performance.” – The Guardian

Sun 12th June

Best known as runner-up in the BBC’s  How Do You Solve a Problem Like Maria?,  Helena Blackman returns to the Pheasantry, following her sold out dates last year, to perform her debut album The Sound of Rodgers & Hammerstein in a stripped-back acoustic evening celebrating her association with this legendary musical theatre writing duo, including one or two surprises.

Check out our video interview with Helena Blackman.

MICHAEL BRUCE - “Faith in this exceptional talent was fully justified” – The Stage

Sun 19th June

Award-winning musical theatre composer  Michael Bruce brings his No.1 debut album  Unwritten Songs to the Pheasantry in an acoustic re-imagining of this celebrated collection of songs. Michael will be joined by a selection of the West End stars that appear on the album, along with some unexpected guests, with whom he will also showcase a number of previously unperformed songs.

The Pheasantry, 152 Kings Road, Chelsea, London SW3 4UT

Tickets cost £20  - call Box Office now on 0845 602 701

You can buy all the artists albums from Amazon, Itunes and dresscircle.co.uk

http://www.speckulationentertainment.com/

Shoes The Musical is, quite literally, just that. With no storyline and no apparent purpose other than to attest to the utter delight of every form of shoe, I was a little apprehensive as to what the night held in store for me. After all, when being completely honest, how much is there to be said about shoes?! Or, so I thought!

So we begin the night with a ‘Brief History of Shoes’, ranging from the sandals of Ancient Egypt through to the delightful court shoes of the Stewart era, finally ending with those shoes we know and love today; high heels, kitten heels, no heels, boots, platforms, stilettos…you get the idea! The next two hours gently guides its audience through that oh-so-addictive relationship between society and their shoes, with amazingly imaginative and ultimately very witty scenarios created by writer and director, Richard Thomas.

It’s astonishing how close to the mark Thomas comes with this musical. And with outstanding choreography from the likes of Kate Prince, Sidi Larbi Cherkaoui, Aletta Collins and Martin Smith, it’s hardly surprising the appreciation emanating from the audience. Admittedly, there were several occasions where I, the ultimate cynic when it comes to shows, could not help but laugh out loud, even if it was just as the sheer ludicrousness of what I was bearing witness!

In all honesty, I never thought I would be able to say I have seen a legitimate show in which a washed-up Cinderella becomes, for want of a better word, a chav with nothing by shabby trainers, sheep prancing around the stage contesting their right to Uggs, and Jesus advertising his Birkin sandals. Needless to say, this show is completely and utterly nothing short of barmy.

But, if it’s a good night out, with laughs, friends, and an escape you’re looking for, the Shoes is the musical for you. However, be warned: this show is NOT SUITABLE for those with a previous history of shoe addictions!

Check out Becky’s blog - http://rebecca-diana.blogspot.com/

Follow Becky on twitter – http://twitter.com/becca_diana

Follow Helena on Twitter: http://twitter.com/helenablackman
Follow us on Twitter: http://twitter.com/StageDoorMag
Pre-order the album at http://www.thesoundofrandh.com/

First of all thanks for taking time to answer these questions. For our readers, could you introduce yourselves…

We are Cindy Rhyme and Sheila Rhyme, we are sisters, we are professional actresses and playwrights.

You are both actresses, did you train professionally, and if yes where?

Yes, we trained in Italy, our home Country. We studied acting and dancing, and then we kept training with stages and master classes in Italy, London and Los Angeles.

So you are sisters, if there any rivalry between each other?

No, there has never been any rivalry among us. From when we were kids, we both loved to perform and to do it together. We staged little musicals, wrote songs and performed in front of our family and we never were envy or jealous of one another. We always felt that having each other is the greatest gift of all and we feel very lucky to be able to share the same passion that now is the same profession.

I understand you’ve been in the media, can you tell us a bit about that?

Yes, it was a surprise for us. In April 2010 we dated the same boy without knowing that he was dating the both of us, he thought it was a fun thing to do because he was dating two sisters. When we told this story to our friends they were all into that and a friend suggested us to contact the media to tell them our story. At the beginning, we thought the media would not be interested, instead they contacted us back and we have been featured on The Sun, Daily Express and Full House for now. Then last week we did a photoshoot for another article in The People, that is going to come out soon. We think that being in the press can be a double-edged sword but we think that if we keep it in perspective is an amazing way to connect with people and tell our side of the story.

Acting Pair - Cindy & Sheila Rhyme

Also you have published book(s), what are they about?

The book is called “Two Sisters, One Boyfriend! and How to Deal with Your Own Boyfriend” and talks about the stories we lived with the love-rat Mike, the guy that dated both of us. The book is also full of suggestions for girls and women of all ages and backgrounds to make their relationships grow and be honest. We are very happy because the book quickly became a best seller and people can buy it directly from our website:

www.cindyandsheilarhyme.com

What advise could you give to young performers who want to be professional actors?

There is a phrase that we like so much because we think it encases all that is important about being performers. If you can see yourself doing anything else and be happy, then do it. But if you can’t see yourself doing anything else, and be happy, then you can become a performer. We think the most important thing is passion, we suggest to young performers to practice their craft, to try to gain experience in all the ways they can but because this is a highly competitve industry it is really hard to get noticed, you have to be really committed to your craft and ready to dedicate your life to acting.

You are about to appear in “Alice new adventures in Wonderland”. Have you started rehearsals yet?

Yes, we did and it is such an amazing experience. The cast, the crew everyone is so committed to this project. We all know we have a huge responsibility against the audience, especially children. We will play Alice ( Cindy ) and the Queen of Hearts ( Sheila ) and we totally enjoy these characters.

How’s it going, is it going to be an awesome show?

Of course! The story talks about Alice, now she is 14 years old and she goes back to Wonderland to try to defeat the evil Queen of Hearts, that wants to ban Alice from Wonderland forever. In her journey Alice will meet again old friends such as The Mad Hatter, the Cheshire Cat, the White Rabbit….but she will also make new friends and will live amazing new adventures. Filled with jokes, rhymes, extravagant characters the show is also filled with messages and thought provoking lines for adults. This is the perfect show for the whole family, the chance to see again Alice, the Queen of Hearts, the Mad Hatter and all the beloved characters from England’s most famous book but audience will also live with them a new, exciting adventure.

How do we get tickets?

You can purchase tickets through the Courtyard Theatre official website www.thecourtyard.org.uk and www.ticketweb.co.uk. Or you can call the box office 0844 477 1000. Tickets are as low as 14£ ( adults ) and 7£ ( children ), look out for discounts and cheper tickets that the production is offering through different Internet websites, designed especially for families.

Can you tell us anything that you’ve never told anybody (press) before about anything?

In 2007 we opened our own dance school called Ecole de Danse, in the little italian village we lived in. We chose to open it because we wanted a job related to performing arts and there were no possibilities to perform in other ways in such a small italian village.

What’s for the future, after “Alice new adventures in Wonderland”?

We all are very committed to this play and believe in it so much. There is a talk of bringing it to the West End and of course we are really excited about it!

When launching Fourth Monkey I looked at our ‘product’, and although we have a keen eye for new and developing talent, looking to offer opportunities to performers and professionals at the outset of their careers our mission statement was a simple one; to deliver high calibre work for a contemporary audience that returns to the theatrical concepts of days gone by.

The theatre was once a place, not so long ago where writers, creatives and the arts world as a whole created work that challenged its audiences with a diet that tackled difficult social issues and evoked an audience to react, or at the very least think. Look no further than the angry young men of the british theatre scene of only fifty years ago, I refer to the Osborne’s, the Pinter’s and Beckett’s of this world. Writers and practitioners that challenged their audiences and made them think and often respond.

We live in a time where boldness in the arts has been replaced by an apparent reluctance to challenge and a certain apathy on the part of the audience. Does an audience not wish to be confronted with theatre that makes them discuss the work, as well as the issues referred to in it as opposed to simply the costumes on the way home? Should the work we are witnessing not relate to the challenging issues that surround our every day?

I strongly believe it does and I also believe profoundly, that if we are going to have an active and participatory theatre audience in the future we need to give them a different diet from that of the tired, superficial musical theatre one most young people are familiar with today. Yes theatre as entertainment has its place, but theatre and art are so much more than this. Aren’t they?

This is not a crusade and neither am I so bold as to suggest that we are the only company trying to truly engage an audience in the contemporary theatre world, we simply wish to play our part alongside the many talented companies delivering fresh and innovative work in the UK today, in defiance of the shameful arts cuts we are now facing.

By selecting and developing work that is uncompromising and challenging in its message and bold in its delivery we can offer the young theatre audience of today something different and something they appear to wish to be part of, something that they can relate to and share in and equally something financially they can afford to witness.

Our work has been described as visceral, passionate and overflowing with energy. Sadly, this is not a unique selling point of course, but it is our philosophy on how theatre should be.

Here’s to a future where we continue to flourish and theatre itself sees a renaissance, where the work and the message within reaches far beyond four walls in a darkened room and maybe, just maybe, plays a small part in allowing silent voices to be heard and perhaps even real change in our troubled society. This is something art can do, it’s just forgotten it has a responsibility and opportunity to do so.

Steven Green
Artistic Director
Fourth Monkey Theatre Company
www.fourthmonkey.co.uk
Currently rehearsing for a transfer of Anthony Burgess’ A Clockwork Orange 9-12 March at the Croydon Clocktower.

For tickets: http://www.croydonclocktower.org.uk/tempalp.aspx?ID=1211

Could you please tell me first about your child hood and if the performing arts was a big part of it?

The performing arts was a big part of my childhood x i was the lead in the school play when i was about 6 and i guess i didn’t really know it then but my parents said i loved it so much. I then began tap dancing at the Allesley School of Dance shortly after and went to dance class around 3/4 times a week after school till i was 16 and in that time appeared in the Belgrade Theatre in Coventrys pantomime for 4 years as a babe. I was also a member of the Youth Operetta group (Y.O.G) in Coventry and appeared in nearly 10 shows for them over a four year period. That’s where i learnt so much and loved being on the stage. I would finish school, go to dance class or Y.O.G and then straight to bed before getting into school the next day early to do my homework before the school day started. So yeah my childhood was performance orientated!!

A lot of people in the industry say that practice makes perfect. How far would you go to agree with that and how do you go about getting practice?

This business, particularly the dance part is ALL about practice. It’s hours and hours of sweat and repetition. It sound’s like a cliche but it’s true. I had a wooden tap mat in my garage and when i had a spare moment i would be in there practicing riffs and beats till i was too cold and had to go inside!!

You trained at Allesley School of Dance and later went on to graduate at Laine Theartre arts, a top theartre school. What hints and tips can you give to other young people who are trying to get into colleges like Laine?

The advice i can give to people wanting to get into somewhere like Laines is use the time at your local dancing school improving your technique in ALL aspects of the business. Singing, dancing AND acting all make up the musical theatre business and so it’s important to have some level of skill and ability in all of them. It’s a very competitive business and you have to have the belief and drive to want to be better than others and be wanting to meet the challenge of improving and fighting to be better than someone else and become the best YOU can be.

Your have just been in Legally Blonde the musical, on the west end. That is indeed a great achievement, what does it feel like being in something like that?

Legally Blonde was a fantastic show to be part of. It’s such an upbeat feelgood show and it was SO much fun being onstage with everyone enjoying performing it. I do still consider myself very lucky to be doing the thing i love as my job but i also know that i’ve worked so hard to get where i am and this is the time to enjoy it!

What is the audition process like for a London musical?

The audition process comprises of a singing audition where you sing a song you choose and then a dance audition where you’re taught part of a routine from the show. Then if you’re lucky enough to be recalled you go back sing again and maybe do some script they’ve given you for a character they think you’re right for, and you’ll recap the routine you did and maybe learn a little bit more or a different piece while they try and narrow it down and piece the cast together. You can be recalled anything from once,twice to several times. You just don’t know! Three or four auditions is about normal, i’d say. And then you sit by the phone waiting for that call!! it never gets any easier no matter how much you work.

You have been in a few top TV and film productions including, Scenes of a sexual nature and Miss Marple. What is it like filming? How would you say TV acting and stage acting differ?

I find filming very exciting coz it’s different to what i usually do in the theatre. There is a big difference between theatre and T.V. because you perform in a more animated way on stage to put a performance across to the audience whereas acting on camera is much smaller as the camera picks up small nuances. I do like filming tho and would like to do more in the future.

Have you got any tips for young performers trying to get into what you do?

The only tip i have is to keep at it. There are so many days when it feels like you’re not getting anywhere and you get knock backs and people say you’re not good enough but you have to be strong enough and DEDICATED enough to work hard at it and prove them wrong. The rewards are more than worth it. Work at it.

Here at Stage Door Mag we always end with the same question – what is your biggest inspiration in life to keep acting?

Performers that inspire me are Bob Fosse, Gene Kelly, Fred Astaire, Rob Ashford, Jerry Mitchell and a personal one is Douglas Hodge who i’ve been in a show twice with. He’s an incredible actor and performer who i’ve learnt so much from.

Also my parents inspire me coz they have supported me throughout and struggled to help me achieve my dreams and so i never give up because they didn’t.

Thank you for your time!

Follow this writer on twitter at – @lukefarnworth

A biographical exploration of repression, this two hour performance examines the harrowing tales of an almost impossible life, with such sensitivity that audience empathy is an inevitable bi-product. Admittedly I was previously oblivious to not only the music, but also the man himself, and it was with some quiet anticipation that I attended the press night last night; after all, when exploring such a singular character, the potential of narrowing down your audience is always an issue. However, these qualms were instantly nullified; this was not the story of one man – this was the story of a nation, suffering under the devastating hardships of the Great Depression.

Woody Sez is a refreshing classic of a musical, providing the much needed break from the increasingly undemanding ‘pop’ musical culture. Not only does it have some contagiously toe-tapping songs and unnerving theatrical talent, it also reveals a compelling and challenging storyline, with an oh-so-relevant social message that, in today’s climate, can’t be ignored.

The subtle opening of the show is one of undeniable freshness. With an almost show-and-tell display of musical flair, the small cast of four immediately put the auditorium at ease, breaking down all walls in a pursuit of audience involvement, without that clichéd pantomimic feel. Instantly, you are aware of the true sense of enjoyment the cast experience as they continuously play Guthrie’s songs, and whether you know them or not is no longer an issue; you want to become a part of this story.

With utterly topical songs such as ‘I’m a Jolly Banker’, the comedic parody is prominent. Although darker issues, such as the devastating effects of Huntington’s disease and the incomparable hardships of the Great Depression, are explored, any potential heaviness that could encumber the piece is almost immediately lightened by the quirky nature.

The story in itself is not a difficult one to follow: however, it did seem that Act II somewhat brushed over the significant issues of the time, including that of World War Two. This rush was a slight disappointment, especially after the attention and detail that created Act I, with its tight-knit story. However, the consistency of the cast was undeniable, with an abundance of musical talent, spanning from the cello to the elastic band, the voice to the spoons. David M Lutken, who not only wrote the show, directed the music and took on the role of Woody Guthrie himself, had that instant likeability that all West End leads crave; his humble nature was only exemplified by his ‘cheeky-chappy’ quality and the strong support of the three remaining cast members.

This show, in all its pureness, was an utter tribute to an apparent legend; indeed, it is so well done that it is carried without the burden of excessive sets or costumes. With the music speaking for itself the show and its creators succeed in paying such huge respect to Woody Guthrie and, although the melodies and nature of some of the songs will not be to every ones taste, the implications behind them cannot be ignored. What was apparent, whether a Woody fan or not, was the sheer enjoyment and appreciation of a standing ovation.

Follow this writer on twitter at – @becca_diana

Where many theatre companies are busily juggling vans, sets, costumes, bookings, get-ins, box-office problems and ice-cream sales before they even get to the cast and the rehearsal process, a few are looking increasingly at audio drama as a noble – and wonderful – alternative for people who want to experience theatrical magic.

It makes sense; far fewer material things to worry about means more time to spend crafting the story, and getting the right people to ensure that the delivery matches the quality of the story.

The company I got involved with a few years ago, Bunbury Banter, believe passionately in the power of audio drama to transport, to engage and to excite. They create relatively short plays – most with a quirky, dark, humorous or horrific theme – and follow every aspect of their creation through to final recording.

We have a rigorous quality-checking system in place when it comes to the writing of plays. A large in-house team of writers and readers are sent an ‘inspiration document’ based on a theme – Film Noir, or Alternative Histories for example. There then follows a collective writing and re-writing process, whittling and honing each piece like a master jeweller. The final few that are good enough to make the cut are then extensively workshopped with professional actors, and finally, when everyone’s happy with the scripts, they go into production. Professional sound recordists and composers add the final touches.

The nature of the medium gives writers, directors and actors incredible freedom to invent, to speculate and to push boundaries. No location is too far, too expensive or too impossible to recreate; the only limits are those of our imaginations – creators and listeners. The monster’s always scarier before you’ve actually seen it, isn’t it?

Technological advances have democratised our view of what entertainment is on offer – hard disk drives and catch-up services has given us the freedom to watch and listen to our favourite programmes when we want to, rather than when they are scheduled. The next challenge for the Bunbury Banter Theatre Company will be to make accessing these marvellous dramatic jewels easy, cost-effective and desirable. We are already working on a project to bring this kind of theatre into public places, as well as using digital radio outlets and downloading possibilities to get the plays to as many pairs of ears as we can.

From children listening to their bedtime stories, to people immobile in a hospital bed, we all love to listen, but we rarely give ourselves the luxury. Ghost stories round the campfire may be coming back…

It is always sad when highly successful London shows leave the West End and unfortunately this is the fate for both Sister Act and Avenue Q. Despite being hugely popular with audiences, both shows left Theatreland on 30 October. Two very different London shows, which capture the diversity of what is on offer, they will be greatly missed.  However, even though these shows didn’t stand the test of time – unlike London stalwarts Les Miserables, Blood Brother and Mousetrap – don’t fret as they can still be enjoyed for a bit longer yet.

Onto a cheerier note, while some productions are leaving London a host of new shows have recently blasted onto the stage. Ghost Stories for instance, recently opened, joining The Woman In Black as one of the scariest productions ever. A host of other unique and powerful plays have also hit the big stage including the clever thriller Deathtrap, The Secret Of Sherlock Holmes and The Railway Children which is performed in the old Eurostar terminal at Waterloo Station.

The fun does not stop there however, as there is also a line up of other spectacular productions that are gracing the stage. The gripping play Birdsong written by Sebastian Faulks began its run at the end of September as did Onassis starring My Family actor Robert Lindsay. The hilarious stage version of the 1980s TV comedy Yes Prime Minister is also opened at the Gielgud Theatre late September and stars Henry Goodman and David Haig. Flashdance the Musical starring ex-Busted member Matt Willis opened in October and The Wizard of Oz featuring the winner of Over The Rainbow, Danielle Hope, as Dorothy will open next year.

London is a great place to enjoy a theatre break and with a host of classic shows old and new to see, you are sure to find something to suit.

Starting in 2006 with only 70 students, it has grown in size and stature and now boasts Summer Schools in London, Bristol, Nottingham, Manchester and North Wales as well as a school term-time West End Academy in London and Bristol, all dedicated to providing young people aged 8 to 21 with the very best performing arts training.

A team of professional tutors – all of them established and working West End performers themselves – run classes in acting, dancing, singing, musical theatre as well as additional skills such as stage combat, improvisation, acting for screen and many more. These skills help young performers build on their talent and nurture their confidence to bring out the best in them, both on and off stage.

The highlights of the training are the organized trip to see a major West End musical (meeting the cast after the show for an exclusive Q&A!) and of course the West End Stage Showcase performance at Her Majesty’s Theatre in the West End, home to The Phantom of the Opera. The show trip and Q&A give the students the chance to see their idols in action and then directly ask them questions and advice, while the Showcase offers them the chance to make their debuts in a public performance on stage in the West End!

2010 was the busiest year yet for West End Stage Summer School, and it looks like 2011 is proving even more popular, especially with the launch of the West End Academy in London and Bristol. The application process is very simple, as prospective students usually browse the excellent West End Stage website, which has all the course details and lots of photos of what the students get up to, and then download the application form direct from the site and send it off to confirm their place on the Summer School.

To apply for the course no audition process is necessary, the only pre-requisite for joining West End Stage is a passion for the performing arts. The students range in experience from young people who have never set foot on a stage before and just want to have a taster of what it’s like to be a West End performer, to students who have been acting, singing and dancing since they could walk and are determined to get into show business. All the students are grouped according to age and experience, so each student is challenged according to his or her abilities, all in a safe and supportive environment.

The Summer School takes place at the world famous Guildhall School of Music and Drama in central London. As a fully working drama school, the Guildhall’s rooms are perfectly equipped to handle all the demands of the West End Stage students, and the whole school is housed within the safe and secure confines of the Barbican Centre.

For those students travelling from outside London, or indeed from outside the UK, the Guildhall offers a top class accommodation service for them at Sundial Court, the halls of residence used by Guildhall students during term time, which is directly opposite the Barbican Centre. The accommodation students are looked after 24/7 by fully licensed West End Stage Chaperones, who also organize activities and entertainments for the students in the evenings and even take them on a shopping and sightseeing trip to central London on the Saturday.

The West End Stage Showcase at Her Majesty’s Theatre is the culmination of the week and the opportunity for the students toshowcase their newly found skills before an audience of friends, family and industry professionals. The chance to make an appearance on the same stage as Andrew Lloyd Webber’s The Phantom of the Opera is a challenge that all the West End Stage students absolutely relish, and many of the students have been talent spotted by casting directors as a result of the Showcase, with previous students winning parts in top West End shows Oliver, A Little Night Music, Waiting for Godot and Billy Elliot.

To see exactly what the West End Stage students get up to on their fun-filled week, log on to the website at www.westendstage.com, where you can also download the application form and request a brochure. If it’s the West End Academy you’re interested in, the website is www.westendstageacademy.com, which also has all the application details necessary.

Winter doesn’t have to be a season of total hibernation. Of course, we all love duvet days and home entertainment, but there’s only so many activities that’ll keep all the family entertained. Why not brave the cold this season and take the family to see the bright lights of London’s West End. Alive with an array of top shows, the capital offers plenty of entertainment for those stay indoors kind of days, and caters for families of all ages.

So, which London shows will be running over the winter period? Well the good news is there are some classics out there at the moment and a handful more about to open.

Here are six family shows sure to make the cold weather bearable.

Mamma Mia!

If you’ve the winter blues already, why not head to London to see Mamma Mia. A lively and upbeat show set to a host of ABBA’s greatest hits, this production is great entertainment for all the family or perfect as part of a girl’s night on the town. Head out of the cold and enjoy this London show superbly performed by a talented London cast. You could even buy the soundtrack and lift your spirits all through the dark months.

Legally Blonde the Musical

Legally Blonde the Musical is another hit show that will definitely lift your spirits. Fun, light-hearted and extraordinarily pink, Legally Blonde has a host of clever songs and a very amusing script that girls of all ages will love. What’s more it stars a whole range of celebrities including TV favourite Sheridan Smith.

Theatreland is also alive with the news that a host of other A-list celebs will be joining the cast on the 25 October including Denise Van Outen as Paulette, Siobhan Dillan as Vivienne Kensington and Carley Stenson as Margot. You certainly can’t see your favourite actors live on stage if you stay in your slippers all season, and this seasons’ London shows are just too good to miss.

The Woman in Black

If your teens are into something a little less pink and you’re feeling brave, The Woman in Black is a petrifying show that will have you quaking in your boots. Stage shows do not get scarier than this and it’s sure to get your heart racing with thanks to its atmospheric sets and jumpy scenes. If you are a horror fan, London theatre shows can be just as scary – if not scarier – as watching a film on the couch. So get out there and see a scary story live on stage this winter.

Flashdance the Musical

Based on the hit film of the same name, Flashdance has recently opened at the West End’s Shaftesbury Theatre and is set to be a scorcher of a show. Enjoy this classic story of Alex, a welder by day and a dancer by night; live onstage as part of a London theatre break. A great London show starring Matt Willis as Nick and Victoria Hamilton-Barritt as Alex, Flashdance the Musical is a real treat and will have all the family up on their feet and dancing!

Shrek the Musical

Bringing to life the beloved characters of the hit film, this wacky romp through the world of fairytales is the ultimate family musical. With brand new songs as well as the Shrek anthem I’m A Believer, and an exceptional cast including Amanda Holden and Richard Blackwod, and incredible sets and costumes, Shrek The Musical is a must-see. It’s a hilarious star-studded musical that will have everyone from the kids to grandparents laughing in the aisles.

Puss in Boots Christmas Pantomime

With the festive season just around the corner, London is a great place to enjoy a festive show and what better to see than a traditional Christmas pantomime. Puss In Boots Christmas Pantomime will open at the Arts Theatre on 18 November 2010 and follows the adventures of everyone’s favourite feline. A show for all the family, this is definitely worth seeing as part of a London theatre break this Christmas.

Provided by Show and Stay