truly talented

From PressParty http://www.pressparty.com/pg/newsdesk/Mcpr/view/173892/ SERIES 2 KICKS OFF WITH WILL AND CHRIS VISITING JEREMY CORBYN IN WESTMINSTER LAUNCHED TO ALIGN WITH LGBT HISTORY MONTH, SERIES 2 WILL SEE WILL AND CHRIS GO ‘ON THE ROAD’ ACROSS THE UK TO TACKLE A DIVERSE MIX OF LGBTQ+ SUBJECTS INCLUDING CHEMSEX, PrEP, LGBTQ+ LIFE IN RURAL BRITAIN, LGBTQ+ ISSUES IN MAINSTREAM EDUCATION AND MUCH MORE GUESTS THIS SERIES INCLUDE ALAN CUMMING, JACK MONROE, TIM WALKER, MICKY BLANCO, ASIFA LAHORE AND MANY MORE ‘ The surprise hit of the summer…it’s a riot!’ - Evening Standard 'Absolute podcast naturals!’ - Radio Times ‘The perfect podcast raconteurs’ - The Guardian 'Will and Chris are at once both uproariously funny and unerringly discerning’ - ES Magazine ‘Hugely enjoyable listening’ - Financial Times ‘Begs the question…why didn’t anyone think of this earlier?’ - Mr Porter (#2 in ‘Podcasts You Really Need to Know About’) ‘ Swings from touchingly candid to downright hilarious’
- The Observer’s ‘10 Best Podcasts of 2017’ Today, Will Young and Chris Sweeney announce the return of their critically acclaimed debut podcast series ‘Homo Sapiens’ – back for a second run, the hilarious ‘in conversation’ programme will return on 20th February, kicking off with an exclusive interview with leader of the Labour Party, Jeremy Corbyn. In the chat alongside Gay Times, Will, Chris and Jeremy discuss LGBTQ+ heroes, bullying and LGBTQ+ education in schools, mental health and depression, homophobic language and the use of the word “gay”, Jeremy’s recipe for jam, how he tends to his allotment, how he stays ‘Monsieur Zen’ in parliament, Glastonbury Festival and much more. In ‘Homo Sapiens Extra’ to be released on Friday, Corbyn discusses Donald Trump, trans people in politics and homophobia on TV. Elsewhere in the episode, Will and Chris discuss their hopes of a knighthood (when Jeremy’s elected Prime Minister, of course), their invitation to PMQs, what happened when they finally (!) appeared as guests on BBC Radio 4’s ‘Woman’s Hour’, Will tries to fix Chris’ boiler (to no avail) whilst he relives his nightmare rehearsal for new Baz Luhrmann West End show, Strictly Ballroom The Musical. To listen, please visit – https://www.acast.com/homosapiens/s02ep01-jeremycorbyn Inspired by the aforementioned ‘Woman’s Hour’, the series will once again bring Homo Sapiens’ signature mix of wit and warmth to 12 weekly episodes, which see Will and Chris chat to a range of personalities, whilst touching on a variety of topical LGBTQ+ issues. All this comes with a healthy dose of random chatter about what is going on in their lives. For the first time, this new series sees Will and Chris take to the road to uncover stories that matter to LGBTQ+ communities across the UK. Stop off points included, Birmingham (to meet a gay teacher about LGBTQ+ issues in education), Manchester (to meet with an LGBT Foundation to discuss the effects of Chemsex and PrEP), Hebden Bridge (to report on LGBTQ+ life in rural Yorkshire), Northern Ireland (to visit the UK’s most remote gay club) and the Yorkshire Dales (to meet Francis Lee, director and writer of ‘God’s Own Country’) and many more. Will and Chris said: “We’re beyond excited about ‘Homo Sapiens’ Series 2. The guests we have are truly inspirational and span the world’s of sport, acting, politics and music. Along with this, we went around the UK to speak to people outside of the main metropolises to hear about LGBT life across Britain. From homophobic abuse from a London bus driver as we set off, to unwittingly being booked in to unveil a statue in Yorkshire, we had quite a week…the people we met were funny and heartwarming and we can’t wait to share their stories.” Will and Chris are longstanding friends, having previously worked together when Chris directed the music videos for Will’s singles ‘Come On’ and ‘Hopes and Fears’.

LondonTheatre1@LondonTheatre1 "Personally, I think @strictlystage is going to be the most anticipated musical of the year and, based on what I have seen today, I can’t wait to get my hands on a ticket." https://www.londontheatre1.com/news/196 ... -de-paris/ … Strictly Ballroom The Musical launch at the Café de Paris FEBRUARY 14, 2018 LAST UPDATED: FEBRUARY 14, 2018 10:55 PM BY TERRY EASTHAM LEAVE A COMMENT Will Young, Zizi Strallen and Jonny Labey – Photo by Bonnie Britain On the most romantic day of the year, what could be better than grabbing a glass of fizz and attending the press launch of Strictly Ballroom at the Café de Paris. Quite a crowd had gathered, including everyone who was anyone in musical theatre reporting – plus me – and there was a real air of excitement as we got nearer to the start of proceedings. Will Young, who plays Wally Strand in the show, kicked off the event with a wonderfully soulful rendition of ‘Time After Time’ with the two lead actors Jonny Labey, who plays Scott Hastings and Zizi Strallen, playing Fran dancing along. Will then gave an opening address which was rather sweet and self-deprecating as he talked about his feelings for the show. He then introduced producer Carmen Pavlovic who talked about the ethos behind her company and other productions they have put on, including a brand new version of Moulin Rouge going to America. Strictly Ballroom, which is based on the original and much-loved 1992 Baz Luhrmann movie of the same name, opens in April in the West End at the Piccadilly Theatre and the company has worked closely with Baz and the original film team. Director & Choreographer Drew McOnie talked about how the show has been updated for a UK audience from its Australian version with the introduction of Will Young’s character, bandleader Wally Strand. However, he said ultimately, the show stays true to the original themes of the movies – being who you are and standing up for yourself – which are as relevant today as when it first came out. At the launch, many of the cast were dressed in their fantastic costumes by Catherine Martin with wonderfully sequined gowns and elaborate hairstyles reflected in every surface. The show looks amazing, sounds amazing and, a particular highlight for me was witnessing Fernando Mira – who originated the role of Fran’s father, Rico – perform a truly superb pasodoble. Proceedings were nearly at an end and the launch finished with Will Young back at the microphone singing ‘Love is in the Air’ accompanied by the other members of the cast to rapturous applause from the assembled audience. Personally, I think Strictly Ballroom is going to be the most anticipated musical of the year and, based on what I have seen today, I can’t wait to get my hands on a ticket. By Terry Eastham STRICTLY BALLROOM THE MUSICAL tells the inspiring story of Scott Hastings, a championship ballroom dancer who defies all the rules and follows his heart, not only to find his true calling but also his true love. Directed and choreographed by Olivier Award winner Drew McOnie and featuring songs from the hit film including Love Is In The Air, Perhaps Perhaps Perhaps and Time After Time, this dazzling new musical is the perfect show for all the family. Strictly Ballroom The Musical Piccadilly Theatre 16 Denman Street, London, W1D 7DY London Booking from 29th March 2018 Currently Booking to 21st July 2018

2nd series of Homo Sapiens coming soon. :cheer:

Both will probably chart top 10 down to Mother's Day then drop like a stone. Neither are likely to sell 50k in total.

Tweet from Will. Well rather a fun gig has come in.....@pubinthepark in marlowe #pubinthepark May19th. I shall be with my old band which I am very excited about! Great food and setting and music

Surprised but delighted. :dance: We’re now ready to unveil our headline music acts to bring that true festival vibe to Pub in the Park. We hope you’ll agree we’ve got the 'Golden Touch' & that we'll have you 'Dancing in the Moonlight'! The line-ups includes Razorlight, Will Young & Tom Odell...check them out! https://www.pubintheparkuk.com/marlow/music/all-acts Hope there's more.

Showbiz › Celebrity News Will Young: I’ve learned to live with my anxiety ALISTAIR FOSTER Will Young says he has “learned to live” with the anxiety that led him to quit Strictly — and is ready for his return to ballroom dancing. The singer, 38, was diagnosed with post-traumatic stress disorder in 2012 and walked out of last year’s BBC dancing competition after three weeks. Last month it was announced he will join the cast of the musical Strictly Ballroom, which debuts at the Piccadilly Theatre in March. Speaking about his casting for the first time, Young told the Standard: “I would separate Strictly on the BBC from Strictly on the West End. They all exist in their own right. “With PTSD, sometimes it could be difficult for me to go to the coffee shop, or visit the bank — but I now know when to expect it. It’s just something I’ve learned to live with the best I can, and listen to my body. “If my nervous system is too much then I might not want to go round to a friend’s for dinner. If I push myself to do things it gets worse. It’s like having a broken leg if you are an athlete — you need time to recover and can’t push yourself. “I’ve got really good at looking after my nervous system — it’s been the making of me. Self-care is what everyone should aspire to. “I’m a very content person. People think that PTSD must be depressing. That’s not the case.” Young, who won the first Pop Idol in 2002, is working on a second series of his podcast Homo Sapiens, which focuses on LGBTQ+ issues. He starts preparing for his West End role next month. “I work on things that pique my interest,” he said. “With Strictly Ballroom, I’m excited and slightly scared.”

FB message from Will. I will be hosting a Carol concert 22nd December at Hall for Cornwall for Shiresholt horse sanctuary tickets available at hallforcornwall.co.uk tickets £15 Lots of carols and mince pies !

Radio 2 Essential R'n'B Good to see there are 4 shows in total. :D The first two to be aired on 20th & New Year's Day.

Yes the Brighton dates sold out quickly as did much of the tour.

DUBLIN NOVEMBER 28th - DECEMBER 2nd Theatre Review: ‘Cabaret’ Starring Will Young, a lavish production of ‘Cabaret’, the iconic musical about a nightclub singer, doomed love, and the rise of the Nazi party, is in Dublin this week. But does it all add up to a good night out? THEATRE 29 NOVEMBER, 2017. WRITTEN BY DANIEL CAHILL. Theatre-Review-Cabaret For over half a century Kander and Ebb’s Cabaret has existed in some guise or another, be it the hugely successful stage show (which has had more revivals than Cher has had farewell tours) or Bob Fosse’s 1972 Oscar-winning film adaptation. That version has rightly earned its place amongst the annals of queer cinema history, due in part to its progressive views of sexuality and, of course, Liza Minnelli’s career-defining turn as the loveable mess that is Sally Bowles. The Rufus Norris revival opens with Will Young singing the apropos ‘Willkommen’. At tonight’s performance the Bord Gáis house lights have mistakenly been left on, but the seasoned Young remains unfazed and cleverly incorporates this gaffe into his performance by interacting with the audience. The role of Emcee is a well-worn one for Will. He was nominated for an Olivier Award for his 2013 stint in the role, and given his pop-star credentials, his particular portrayal of Emcee can lean more towards whimsical than menacing at times. That being said, there’s no doubt his performance is the glue that binds this entire production together. You cannot avert your eyes when he is on stage and his voice takes on a new timbre, not heard in his pop offerings. You May Be Surprised If you are a fan of the film version as I am, you may be surprised to find that the stage version differs greatly in parts. The iconic Sally Bowles feels almost like a bit part in this version, sidelined to make way for other story arcs. This is not helped by Louise Redknapp’s performance. There’s no doubt that she has the vocal chops for the part but her acting often feels stilted and on occasion her delivery was almost robotic. Sally Bowles impish pixie cut was also usurped for a soccer-mom type hairstyle, which rather detracted from the sex appeal we expect from the part. In one early scene, Sally tries to seduce the charming writer Clifford Bradshaw. Redknapp succumbs to multiple bouts of coughing during her dialogue, resulting in Sally Bowles sounding less seductress and more serial chain-smoker. In fairness, Redknapp managed to soldier through and perform a song at the end of her scene without any further interruption. The songs that feature in both the movie and stage production are rambunctious, provocative and are the musical highlights of the show. Some of the lesser-known songs performed by Clifford and Sally’s landlady, Fraulein Schneider, lack the same umph and slow the pace at times. Cabaret’s staging is incredible and the audience is transported from Fraulein Schneider’s boarding house and the bright lights of the Kit Kat club and back again with seamless precision. The dancers are sizzling hot and fill every inch of the stage with their slick choreography and statuesque physiques. Catchy Nazi Youth Ditty While the central theme of the stage and the film version remain the same, the mechanics in which it is conveyed on stage are completely different to the film. In the stage version a love story between Fraulein Schneider and Herr Schultz becomes the catalyst for the burgeoning distrust of Jewish people and the imminent rise of the Nazi party in Germany. It does takes an hour or so into the piece for this plot point to be uncovered, signalled by Young triumphantly singing Kander and Ebb’s catchy Nazi Youth ditty, ‘Tomorrow Belongs to Me’. Ramped up with Nazi involvement, the second act takes a more definitive shape. It’s a story that rather depressingly is still as pertinent today as it was when Cabaret was first staged on Broadway in 1966, which may also be part of the reason this production feels so fresh and relevant. Cabaret is a jewel among Bord Gáis Energy Theatre’s run of top international productions this year and is well worth the price of admission. As Sally Bowles famously bellows in the show’s titular song ‘What good is sitting alone in your room? Come to the Cabaret.’ Cabaret runs at The Bord Gáis Energy Theatre until December 2, tickets here. https://gcn.ie/theatre-review-cabaret/? ... =hootsuite

http://www.bbc.co.uk/showsandtours/show ... re_20dec Will Young presents with Great Pleasure at Christmas. Will Young takes us on a tour of his favourite bits of writing, songs, entertanment and art including Lord of the Rings, Joni Mitchell, Magritte, Cabaret and King Lear. Along the way he'll talk about his life and his career. And there'll be live music and performance from Will himself :party6: plus a range of special guests. Wonder if this could be the start of more radio work for Will.

EDINBURGH PLAYHOUSE NOVEMBER 14 -18th EDINBURGH REPORTER Review: Cabaret **** SHARE THIS Add to Delicious Share on FriendFeed Digg submit to reddit TAGS CabaretEdinburgh PlayhouseLouise RedknappSusan PenhaligonWill Young When I was asked to do a review of Cabaret, performing this week at the Edinburgh Playhouse, I have to say I had reservations. I have never watched the famous 1972 film version starring Liza Minelli and I’m in the dark about the story behind the musical, apart from the fact it’s set in Berlin in the early 1930s. When I read that two of the leading cast were Will Young, forever associated with Pop Idol, the talent show which launched his career ten years ago and Louise Redknapp, formerly of girl band Eternal, my anticipation didn’t exactly reach stratospheric levels. However, when the show ended shortly after 10.00pm on Tuesday’s opening night, my opinion had changed. The story of a young American, Clifford Bradshaw, played by Charles Hagerty, arriving in Berlin hoping the city will inspire him to write a novel is the premise. However, Clifford finds himself in a surreal world of cabaret acts, black market traders and an ever-darkening political landscape. Cabaret comes with the inevitable fishnets, suspenders and corsets – and that’s just the ebullient host for the evening Emcee, played quite brilliantly by Will Young! Bold, impish and clearly loving this role, Young gives arguably the performance of his life, even adding the odd ad-lib (when his address to the Edinburgh audience produced a somewhat muted response, he mocked to the front row ‘well three people liked it!’) Hagerty’s performance as Bradshaw is also impressive, an antidote to Emcee with Clifford clearly alarmed at what was happening in 1930s Berlin as Hitler’s Nazi Party gained more and more influence on Germany’s politics. The role of Sally Bowles – Bradshaw’s girlfriend – is played by Louise Redknapp. Now you could scarcely call me a fan of Eternal, but I was surprised by her powerful performance at the Playhouse. Those who still remember the film will inevitably compare Redknapp’s role with Liza Minelli, but the former runner-up of BBC Television’s Strictly Come Dancing was impressive throughout. Those of us who are old enough to remember that classic television drama from the 1970s – A Bouquet of Barbed Wire – will remember Susan Penhaligon’s brilliant performance as Prue. More than 40 years have passed since that memorable series (yes, really) but Penhaligon’s performance as Fraulein Schneider in Cabaret was superb and her relationship with Herr Schultz – played by the wonderful Linal Haft – touched many hearts with the inevitable outcome of a German woman contemplating marriage to a Jew in 1930s Germany. Without giving too much away, the end of the show will leave you spellbound and is a tribute to the superb performances of a highly talented cast. My only bone of contention was that, on occasion, I did struggle to hear what Will Young was saying in his mock German accent. However, this might have been something to do with the acoustics of the theatre. If you’re thinking of how to escape the relentless pre-Christmas tosh on television this week, then what good is sitting alone in your room? Come hear the music play – for life is a cabaret, old chum. Come to the cabaret – at the Edinburgh Playhouse this week until Saturday. You’ll be glad you did! Cabaret is at the Edinburgh Playhouse until Saturday 18th November 2017. Tickets here. Edinburgh Reporter rating: **** Fife Today Debbie Clarke, 15th November 2017: Come hear the music play at the Edinburgh Playhouse this week as the popular West End musical Cabaret takes to the stage. Rufus Norris’ acclaimed production is in the city for a five-night run as part of its current UK tour. The award winning musical stars Will Young as the eccentric Emcee. International singer/songwriter Will Young reprises his role as the enigmatic Emcee while singer and presenter Louise Redknapp makes her stage debut as Sally Bowles in this multi award-winning production. The show takes place in 1931 in Weimar Berlin and begins with the stirring Wilkommen when the audience is first introduced to the eccentric Master of Ceremonies, performed superbly by Will Young who previously played the role in 2012. While he has big shoes to fill following in the footsteps of the original Emcee Joel Grey, Will does a fantastic job of making the part his own. He perfectly captures the character’s ambiguity as well as a vulnerability which is masked by Emcee’s cheeky persona and flair for showmanship. While Louise Redknapp is fantastic in her role as sassy English cabaret singer Sally Bowles. She gave really strong vocal performances particularly in ‘Maybe This Time’ and ‘Cabaret’. Louise Redknapp stars as Sally Bowles As well as the two leads, I also thought Charles Hagerty was impressive as Bowles’ love interest Clifford Bradshow and Susan Penhaligon was excellent as landlady Fraulein Schneider. The secondary love story of Penhaligon’s character and Herr Schultz, played by Linal Haft was very touching, especially the scene when he offered the lady of his affections a pineapple as a special gift! Cabaret features amazing choreography, which is raunchy and dazzling, drawing the audience into the world of the infamous Kit Kat Klub and showing, quite poignantly, how its members were affected by the impending rise of the Nazis. This production certainly captures that sizzling era of decadence and hedonism with an ending that is very powerful. Cabaret is a musical not to be missed. Southside Advertiser Tom King, 14th November 2017: **** Cabaret starring Will Young and Louise Redknapp is at The Playhouse Theatre Edinburgh this week (until Saturday 18th November) turning time back and re-creating the Kit Kat Club of 1931 Berlin on stage. Cabaret is one of these productions that has a long history in different media – I Am a Camera (play), Goodbye to Berlin (short novel), stage musical and of course the iconic film from 1972 that brought the talents of writers Kander and Ebb, director Bob Fosse and of course Liza Minnelli as Sally Bowles. It is perhaps a little unfair that to anyone who has seen the film, Liza Minnelli is the benchmark that many will judge any Sally Bowles against. Adding to this problem of course is the fact that this role has over the years been played by some of the great stage performance artists of their time, and to expect Louise Redknapp to compete against this background in her first dramatic role is perhaps expecting a little too much from anyone – particularly in a production where Will Young has had the time to firmly establish his role as Emcee to perfection. Louise Redknapp is a very good vocalist, but this is Sally Bowles on stage, one of the most iconic roles in musical theatre and there is so much more to this part than just hitting the right notes, there is real dramatic weight to this part and to her songs. Sally Bowles to me always is a bit of a fake as underneath her exterior of “exquisite decadence” there is a very vulnerable woman wanting love and security more than anything else. Sally does not just perform at the Kit Kat Club, she is trapped there by many demons and knows it all too well. There should be a sharp contrast between on stage Sally and the off stage Sally as her relationship with Clifford develops, and that was not there for me in this production. That vulnerability I want to hear in “Maybe This Time” is just not there either. Everything about Sally is in the song “Cabaret” – whatever your troubles in life, put a brave smile on your face and just get on with things, and Louise does a far stronger performance with this number. For some reason the relationship between American writer Clifford Bradshaw (Charles Hagerty) and Sally Bowles (Louse Redknapp) is just not producing any emotion here for me, and that may be down to some factors outside of their control. The triangle between Clifford, Sally and nightclub performer Bobby also seems very weak here. Instead, the real relationship in this story and the one I remember the strongest when I left the theatre is the one between Fraulein Schneider (Susan Penhaligon) and Herr Schultz (Linal Haft). There are some wonderfully touching and delicate moments in this relationship, and both Susan and Linal have the background of dramatic experience to bring these characters to life. Fraulein Schneider also has some wonderful songs and, unlike Sally Bowles, her way of coping with the “Cabaret” that is life is simply to become very still, become almost invisible and simply survive whatever larger events are happening around her. This re-imagining of Cabaret works still though on many levels, and part of that is the bold move to create something very different on the Kit Kat Club stage, a wise move too as so many people have the Bob Fosse visuals in their heads still and any attempt to slightly change these would probably have ended badly. Instead, this new vision (which I last saw in 2013) has allowed Will Young to firmly establish himself as the new Emcee here, and he is simply getting better and better at this role. I was not too sure how this production would work on one of the largest stages in the UK as it is best suited for a smaller and more intimate theatre, but it works very well, and a big part of that success is the ability of Will Young to pull an audience right into the stage with him. There is also something unnerving at times to his performance – his closing performance of “Tomorrow Belongs To Me” in Act 1 has chilling overtones to it. This production of Cabaret is a bit like a story in two very distinct parts, and the music, dance and laughter of Act 1 contrast sharply with the far more dramatic and darker events of Act 2 as the Nazi party start to consolidate their hold on the German political scene. Out of the two, the second half of this show for me is always where the power of this story lies, and nothing in this production is more powerful than the final scene. If you have not seen this production yet I have no intention of giving that final scene away and hope no reviewers do either. This is not a perfect production of Cabaret, but it is a very good one. Louise Redknapp has the unenviable job of having to learn very swiftly the skill sets required for a dramatic role of this weight on stage and in front of audiences, and with the depth of dramatic talent around her, I have no doubt that this will be a very swift learning curve. Daily Business Magazine Pauline Taylor, 15th November 2017: ***** Young grabs the limelight in dazzling show In her theatrical debut Louise Redknapp, the former Eternal singer, brings to life Sally Bowles, the fictional burlesque performer who entertained in the sleazy nightclubs of 1930s Berlin. Redknapp does a decent job of emulating the role made famous in film by Liza Minnelli, but the show stealer of this performance at the Edinburgh Playhouse is the singer Will Young. Painted in clown face for most of the show, Young is a revelation as Emcee with his range going far beyond his reality pop star status. Young, who reprises his Olivier Award-nominated role, opens the action by proclaiming “Wilkommen” and it heralds a night of bawdy entertainment typifying the mood of a city on the cusp of Nazism. Susan Penhaligon with a long pedigree in theatre and television (Upstairs Downstairs, Bouquet of Barbed Wire) plays Fraulein Schneider, the landlady of a louche rooming house with plenty of characters passing through. The era, in all its depravity, is suitably depicted in the dazzling sets by Katrina Lindsay and choreography from Javier de Frutos. Mood changes see the backdrop change from the colourful Kit Kat Club with to Fraulein Schneider’s grey and oppressive looking house where she constantly rebukes the ladies for bringing home their “nephews” and “brothers.” The original songwriting from John Kander and Fred Ebb includes stand-outs Maybe This Time and, of course, Life Is A Cabaret. Redknapp delivers these with perfect range though the performance would benefit from her growing into the tragedy of the role as the tour progresses. The overall pervading mood of the action is impending doom as swastikas start to appear just before Hitler takes power in 1933. As the city shudders no-one is holding their breath and the whole company shows how these free-living Berliners partied until they were powerless against the impending doom. Young is central to the change of tone as the tragicomic Emcee. This is a very physical performance showing a range of comic buffoonery and clown-like lamentations as the era comes to an end. The choreography is simply stunning with many set pieces including Emcee as a puppet master while some of the company dance robotically. There’s a lot of symbolism in this production. Penhaligon and Linal Haft as Herr Schultz bring some serious acting to the stage but Young is not far behind – his performance is outstanding and the whole company should be praised for their dazzling energy. The poignancy of the finale gives the production a twist that was missing from the movie version. It’s not hard to see why the hype around this filled almost every seat on opening night. Highly recommended.

Will & Chris are the guests on Jesse Ware's podcast this week. https://www.podchaser.com/podcasts/tabl ... e-23158026 So for Ep 2 I thought it was only right and proper that I invite over my dear, dear family friend and awesome promo video director Chris Sweeney, along with his partner in podcast crime and Cabaret star Will Young, a.k.a. the Homo Sapiens boys!

Will has tweeted. 'Strictly Ballroom is an iconic film by iconic director and now I am thrilled and excited to be a part of it on west end. They are an amazingly talented company and it's an honour'.

Will Young, Jonny Labey and Zizi Strallen to Lead Baz Luhrmann's STRICTLY BALLROOM THE MUSICAL Will Young, Jonny Labey and Zizi Strallen will lead the cast of Baz Luhrmann's Strictly Ballroom The Musical when it makes its West End debut in 2018. Based on Baz Luhrmann's classic film that inspired the world to dance, Strictly Ballroom The Musical will begin performances at the Piccadilly Theatre on Friday 16th March 2018 (Press Night Wednesday 11th April). Will Young will play the brand new role of band leader, Wally Strand. Ever since winning the inaugural series of Pop Idol in 2001, Will has been one of the UK's most popular and successful music artists. He holds the record for the fastest selling debut single in British chart history, and has enjoyed a phenomenal career in music with four No1 albums, as well as acting alongside Dame Judi Dench in the film Mr. Henderson Presents, and his hugely acclaimed stage debut as the Emcee in the West End production of Cabaret. Jonny Labey will make his West End debut in the leading role of Scott Hastings, the maverick ballroom dancer torn between his passion and his pride. Jonny burst into the national spotlight by winning the ITV show Dance Dance Dance. Jonny, well known for playing the role of Paul Coker in EastEnders, has also starred in the film Soft Lad, headlined the play Verge of Strife, and can currently be seen as a new judge on CBBC's Taking The Next Step. Zizi Strallen will play the role of Fran, the fledgling dancer who partners with Scott and catches his eye following his fall from grace. Having shot to stardom as the lead in Mary Poppins, Zizi's additional West End credits include Follies, Cats, Dirty Dancing, Hairspray and Chicago. The cast includes Michelle Bishop (Thoroughly Modern Milly, Sunset Boulevard) as Pam Short, Ivan de Freitas (Jesus Christ Superstar, Aladdin) as Merv, Gabriela Garcia (In The Heights, Ghost) as Vanessa Cronin, Charlotte Gooch (Top Hat, Dirty Dancing) as Tina Sparkle, Richard Grieve (Neighbours, Emmerdale and Priscilla Queen of the Desert) as Les Kendall, Liam Marcellino (Cabaret, Miss Saigon) as Wayne Burns, Stephen Matthews (The Lion King, The Producers) as Doug Hastings, Fernando Mira (ENO, Victorian State Opera) as Rico, Eve Polycarpou (Villa Thalia, In The Heights) as Abuela, Lauren Stroud (Top Hat, Hairspray) as Liz Holt & Gary Watson (Fings Ain't Wot They Used T'Be, A Chorus Line, Jersey Boys) as Ken Railings. The cast also includes Chris Bennett, Chrissy Brooke, Hannah Fairclough, Selina Hamilton, Christopher D Hunt, Luke Jackson, Justin-Lee Jones, Robin Kent, Jacob Maynard, Leanne Pinder, Tinovimbanashe Sibanda & Dale White. The full cast is yet to be announced. Strictly Ballroom is the romantic story that was embraced around the world, and went on to put the Strictly into Come Dancing! Based on the multi award-winning movie, the first instalment from Baz Luhrmann's acclaimed Red Curtain Trilogy, the musical production is a kaleidoscope of colour and fun. When rogue championship ballroom dancer Scott defies all the rules of competition to follow his heart, he teams up with left-footed partner Fran to compete in the Pan Pacific Championship his own way. Their love blossoms as their routines flourish, and together they triumph in bringing down the sequin-clad regime of the Dance Federation. Featuring the film's iconic music such as Love is in the Air, Perhaps Perhaps Perhaps and Time After Time, Strictly Ballroom The Musical will also include electrifying songs from a host of internationally acclaimed artists. The production originated in Australia where it was created by Baz Luhrmann and Catherine Martin. Drew McOnie (whose dazzling choreography for In the Heights earned him the 2016 Olivier Award) will direct and choreograph the West End premiere, with a book by Baz Luhrmann and Craig Pearce. Strictly Ballroom The Musical is produced by Global Creatures the team behind Walking With Dinosaurs - The Arena Spectacular, Muriel's Wedding The Musical and the Broadway-bound King Kong and Moulin Rouge! The Musical. For all information about STRICTLY BALLROOM THE MUSICAL, please see http://www.strictlyballroomthemusical.com.

A special role has been written for Will, as the bandleader, when Strictly Ballroom the Musical transfers to the West End next March. :D Strictly Ballroom the Musical plays at the Piccadilly Theatre London from 16th March to 21st July 2018, with an official press night on 11th April 2018. Performances are at 7:30pm every day, excluding Sundays, with matinees at 2:30pm on Wednesdays and Saturdays.

MANCHESTER NOVEMBER 7th - 11th Cabaret Review Lyric Theatre, The Lowry, Manchester until 11th November 2017. Reviewed by Julie Noller 5***** I’m sad today because I’ve never seen Cabaret, how can this be so? I knew the music, could sing along, I even knew the names of the characters. So when I took my seat in the auditorium, I took in the fact it was packed not a seat left. There was an electric buzz of excitement. I never expected Cabaret to be educational, to bring alive the human suffering from 1930’s Germany. As Europe teetered on the brink of war. Emcee who was played to perfection by Will Young, opened the show. With his painted face looking almost like a younger brother of Marcel Marceau. Did he represent the consciousness of Berlin, there is fun and laughter to be had at the Kitkat Club. Everybody who is anybody at the time of the Weimar Republic crumbling into the realms of Nazi controlled power, is celebrating New Years Eve 1930 at the KitKat Club, where both Boys and Girls are free to love and play. Cabaret is deep, decadent, there’s nudity, there’s laughter and giggles as you slip into the comfortable life that’s free and easy, naked people run quite accepted across the stage. It slowly rolls into uneasiness, as the Nazis become braver and start to assert themselves in all aspects of society. It may just leave you shocked with tears of sadness over lost lives and wasted hatred. As Emcee says ‘hatred is exhausting’ , it’s much harder to wear the cloak and pretending to be something than to be young, free and happy. The witch hunt of anything not the ideal is beginning. The performance is simply delicious, I saw plenty of people purchasing the CD during the interval. Louise Redknapp makes her theatrical debut as Sally Bowles and uses her voice to the max to raise the roof especially during the title track Cabaret, if you weren’t tapping your feet, you weren’t in the room, watching the same show as me. I’m sure it won’t be her last piece of musical theatre. Although not all musical numbers are pitch perfect songs, they perfectly showcase each characters personality. From Fraulein Schneider (Susan Penhaligon) owner of the boarding house, worried about keeping her reputation and business yet not scared of the struggles of life because as she says ‘I have survived inflation’ . She welcomes Clifford Bradshaw (Charles Haggerty) a young American writer quite possibly based upon the many artists who flocked to Berlin. Kander and Ebb commissioned Joe Masteroff to write Cabaret taking inspiration from American-British writer Christopher Isherwood, series of stories from Berlin. I liked Fraulein Schneider she understood how a room rented for half the asking fee was better than an empty room, she lived alone but not a lonely life, seeing the good in people especially the friendly and generous Herr Schultz his only crime was generosity which stemmed from a deep love of Fraulein Schneider. Hatred came easily to those who were jealous, destroying this elderly couples future happiness. How very sad to see Herr Schultz living his life in hope ‘politicians come and go’ you want to shout out, he needs to save himself, board the train to Paris, get out while he can. But he has that blind faith all humans have of trust, that things will get better. Fraulein Kost (Basienka Blake) with her life of vice, her brightly coloured hair, perfect make-up. Love of sailors. Is the sign of a society on the brink. I found her rendition of Tomorrow Belongs To Me extremely moving, it fits perfectly in a place where not just Berlin but European society was altering from the time where World War 1 had ended and people were breaking free, to facing the prospect of fear and the dark clouds of hatred amid the climb to 1940’s and World War 2. Herr Ludwig (Nicholas Tizzard) is the one character who crosses the divide, his presence cuts across the decadence and brings the Cabaret train ride into real life territory. He at first comes across as a smuggler, helping a young american and welcoming a stranger, as he becomes braver, showing his affiliation to the Social Nationalists (Nazi) much to the shock of the other characters. You see how much of an impact this has on each of our loved cast, a cancelled engagement, moving accommodation to save the impact on a loved one, selling of all items to return home, a blind eye through the love of fame. Homosexuality is no longer tolerated and attacks are carried out. Where are those missing people? As Cabaret draws to an end we see Herr Ludwig closing down the KitKat Club, it’s presence will not be tolerated. Our beloved Emcee is alone, no longer the talk of the town, no longer the clown. He is striped bare, the audience no longer shocked at nakedness accepts it. This is different to the Kitkat club where life and clothes are free and easy, boys love boys and girls love girls. We see the cold damp darkness of oppression, I initially giggled and then realisation dawned, this was the basis of concentration camps, this was quite possibly a gas chamber, my hand was clasped to my mouth, my gasp audible as I noticed the audience around me. There is no happy ending, for happy endings are for fairy tales. Cabaret is no fairy tale, it’s a reminder of a time now long gone. Its hard to think of Berlin so free and easy but it genuinely existed and I loved witnessing it’s rise and fall within European society. It’s a solid, genuinely heart warming performance by all the cast. A totally humbling experience for me in the lead up to Remembrance Day, Lest any of us forget the events that befell Europe. Frankly My Dear UK THEATRE REVIEW: CABARET – THE LOWRY, SALFORD Posted in Reviews, Theatre November 8, 2017 by Donna Photo Credit: Pamela Raith Photography Elaborate and enthralling, CABARET stands the test of time in Bill Kenwright’s touring production When it comes to musicals, CABARET is one of the all-time greats. Since its Broadway premiere in 1966 and the famous 1972 film starring Liza Minnelli and Joel Grey, CABARET has won a staggering number of stage and screen awards including 8 Oscars, 7 BAFTAs and 13 Tonys. No surprise then that Bill Kenwright decided to take his hit West End show out on a UK tour. Set in 1931 Berlin as the Nazis are rising to power, CABARET focuses on the nightlife at the seedy Kit Kat Klub. The story revolves around young American writer Cliff Bradshaw who finds himself dragged into a turbulent whirlwind of cabaret dancers, smuggling and politics, as well as a relationship with 32-year-old English cabaret performer Sally Bowles. The musical features some of the most iconic songs in musical theatre including WILLKOMMEN, MEIN HERR, MONEY MAKES THE WORLD GO ROUND, TWO LADIES, MAYBE THIS TIME and of course, CABARET. Elaborate, exciting and incredibly enthralling, Bill Kenwright’s touring production of CABARET takes the heart and soul of the original and rises it to a whole new level. From Javier de Frutos’s show-stopping choreography to Katrina Lindsay’s stunning set design, every inch of this seamless and dynamic production directed by Rufus Norris successfully captures the hedonistic atmosphere of 30’s Berlin, from its sensual perversions to its dark and brutal undertones. Photo Credit: Pamela Raith Photography Will Young reprises his critically acclaimed performance as host Emcee. From the moment he appears on stage, Young lifts the energy, radiating a strange charisma and creating a new level of depth to the sinister and stylized character. Numbers such as MONEY MAKES THE WORLD GO ROUND and IF YOU COULD SEE HER are performed with depth and spot-on irony, while I DON’T CARE MUCH is hauntingly beautiful. Former pop star Louise Redknapp equally impresses as Sally Bowles, the role famously played by Liza Minelli in the 1972 film. Sporting a cropped bob and fishnet tights, Redknapp certainly looks the part and proves herself more than capable of handling the show’s bigger moments. The only real disappointment is her vocals are sometimes overpowered by the orchestra, leaving you wanting more, particularly on numbers like MAYBE THIS TIME. That said, all of the cast are a joy to watch, especially Charles Hagerty as Cliff, Susan Penhaligon as Fraulein Schneider and Linal Haft as Herr Schultz, all of whom come dangerously close to stealing the show at times. The material also still stands the test of time, and still feels strikingly relevant and powerful. Norris’ chilling and unexpected ending is also incredibly poignant, leaving you with a feeling of deep unease as you exit the theatre. A fabulous revival of an all-time classic. 4 Stars (4 / 5) https://www.franklymydearuk.co.uk/theatre-r...-lowry-salford/ Cabaret at The Lowry Manchester Review Reviewed by Rosemary Knight... 7-11 November 2017 http://whatsgoodtodo.co.uk/wp-content/uploads/2017/11/Cabaret.jpg Cabaret, written by John Kander and Fred Ebb, is one of the greatest musicals of all time, so I was delighted to visit The Lowry theatre in Manchester to have the opportunity to watch this critically acclaimed version of the show, directed by Rufus Norris and produced by Bill Kenwright. The show is set in Berlin in the 1930’s, just as the Nazi party are becoming powerful and most of the activity takes place in the seedy Kit Kat nightclub. Cliff Bradshaw, a young American who aspires to write his first novel, arrives in Berlin on New Year’s Eve and becomes involved the debauched, hedonistic world of cabaret. Will Young stars as Emcee and right from the very beginning absolutely steals the show in every single scene. He is alternately funny, menacing and innocent and his singing voice is just incredible. The songs performed by him, Wilkommen, Two Ladies, Tomorrow Belongs To Me, If You Could See Her and The Money Song are the highlights of the show. Ex Eternal singer and Strictly performer Louise Rednapp stars as Sally Bowles. Whilst she is undoubtedly very beautiful with a superb singing voice, I don’t believe she has the earthiness and sex appeal which I would usually attribute to Bowles. Her dancing skills are exceptional however and when she performed Mein Herr she deservedly received rapturous applause from the audience. Linal Haft as Herr Schultz and Susan Penhaligon as Frauline Schneider are superb in their portrayal of the elderly lovers whose relationship is doomed by the rise of the Nazi party. Charles Hagerty is also excellent as American wannabe novelist Clifford Bradshaw who becomes smitten by Bowles. The stunning choreography by Javier De Frutos is sensational, with the dancers sexily clad in corsets and suspenders whirling and cartwheeling across the stage. The final scene is shocking, with the audience leaving the theatre feeling chilled. Despite this dark, poignant ending, I really enjoyed this performance. Will Young is absolutely sensational, and the entire show is a joy to watch. Rating: 5/5

MILTON KEYNES OCTOBER 31st - NOVEMBER 4th Cabaret 3rd November 2017 By Nancy Stevens Leave a Comment Image of Will Young as the Emcee in Cabaret at MK Theatre, as reviewed by award-winning radio presenter Nancy Stevens. Will Young as the Emcee in Cabaret. Photograph by JIM MARKS A warm wilkommen is offered to the guests of the seedy Berlin Kit Kat Club by Emcee, a leather-clad, face-painted Will Young. Debauchery and decadence I expected, but it was much darker than I had anticipated. It was very moving, full of pathos, with moments of humour provided by the utterly brilliant Young who was born to play the role. Every little nuance, facial expression and movement had such significance, it is hard to believe this is the same boy who burst onto our screens on Pop Idol in 2002. Young simply steals the show in every scene. Kander and Ebb’s Cabaret is not a typical musical, and is adapted from Christopher Isherwood’s 1939 short novel Goodbye to Berlin. Isherwood termed the phrase ‘smoky sexuality’ to describe the heady atmosphere in 1931 as the Nazis rise to power. The club serves as a metaphor for ominous political developments in late Weimar Germany. The primary focus is on American Writer Cliff Bradshaw, a very handsome Charles Hagerty, who falls for the charms of English cabaret performer, Sally Bowles, in the role that made Liza Minelli a star. Louise Rednapp as Sally is very pretty, possesses a lovely voice and a girl-next-door quality, but perhaps lacks the sassiness I would expect from the character. A sub-plot involves another doomed romance between German boarding house-owner, Fräulein Schneider – an absolutely wonderful Susan Penhaligon – and her elderly suitor Jewish fruit vendor, Herr Schultz – Linal Haft – who exudes so much warmth and love, you wish he were your grandfather. As I had no point of reference, and had not even seen the film, I had no expectations or preconceptions. I enjoyed the Fosse-inspired dance routines, (Fosse choreographed the film sequences). There were some rather surprising flashes of nudity, a proliferation of bondage-gear (and that was mainly the men!), coupled with a strong cast that included Jordan Livesey as Victor. Livesey is very watchable (I loved him in La Cage) and an ending that made me gasp. As someone with Jewish heritage, I find this period in history most disturbing, as I am sure most people do, and I am still in shock and sadness about a time in which those who ‘did nothing’ should be most ashamed. This is not your typical feel-good musical, but it is sometimes good to be pushed out of our theatrical comfort zone, and it is worth going simply to see Will Young’s superb performance. Cabaret is at Milton Keynes Theatre until 4th November 2017. CREAGH/CARR REVIEW: Cabaret, MK Theatre The Creagh/Carr Review gives you two for the price of one – the opinions of elderly hackette Bev Creagh and flamboyant newshound Stewart Carr. Here, they share their views on Cabaret playing at Milton Keynes Theatre until Saturday, November 4. CREAGH SAYS .... Cabaret tells the story of Sally Bowles, the English girl free with her favours who is carving a career in a bisexual Berlin burlesque bar before Hitler begins clamping down on the city’s decadent life style – and its Jewish population. Liza Minnelli made the role her own in the 1972 film version. She’s etched in everyone’s mind as the quintessential Sally – a very hard act to follow. Louise Redknapp – former singer with Eternal – has a lovely voice but she lacks edge and experience. And while her performance is perfectly adequate, it lacks that essential pizzazz. But the rest of the cast is absolutely outstanding. Will Young as the effeminate Emcee with the Charlie Chaplin walk is brilliant, his sense of timing faultless, his voice rich and strong. Susan Penhaligon is equally good as Fraulein Schneider , the elderly boarding house owner trying to turn a blind eye to the naughty goings-on under her roof. She has a soft spot for Herr Schultz (Linal Haft) and their scenes together are both touching and amusing, particularly when he attempts to get down on one knee to propose. Basienka Blake is ravishing as red-headed harlot Fraulein Kost and Charles Hagerty makes a credible Clifford Bradshaw, the American writer who realises what’s happening in Berlin and tries to persuade Sally to go back to Britain with him. The dancers are incredibly sexy in a sadomasochistic sort of way, the perfect backdrop to the dark story unfolding on stage. And the orchestra, playing in a box looking down on the set, makes the production even more engaging. This is entertainment at its best - another triumph for MK Theatre. CARR SAYS .... Anyone with even a passing knowledge of its source material will know roughly what to expect with this starry-eyed production of Cabaret. But it’s in the little nuances that deviate from the 1972 classic where this show really packs its punch. Cabaret tells the story of Berlin’s licentious nightlife in the 1930s – where the liberal laissez faire is soon to be destroyed by the arrival of the Nazis. Will Young is Emcee, the host of the Cabaret and also its spritual sprite. Looking beyond his singing prowess – which seems only to have grown over the years – Will Young as Emcee is wonderfully funny, frivolous and artlessly camp. He’s the soul of a scene which becomes broken under Nazis brutality. Young upstages Louise Redknapp in her headlining role as Sally Bowles. English to a puritanical tee, it’s hard to envisage Redknapp as the sultry queen of cabaret. Every word seems laboured and she lacks the on-the-spot flair which Liza Minelli famously enfused into the character. Charles Hagerty as her bisexual lover Clifford Bradshaw is on form, blessed with a pitch-perfect musical theatre voice. But the chemistry between him and Redknapp fails to float above the writhing of body-beautiful dancers who surround them. My favourites were Susan Penhaligon and Linal Haft as Fraulein Schneider and Herr Schulz. Their story is among the more poignant sequences of the show. Blunt in areas where the film was more suggestive, Cabaret is both wildly fun and at times, strikingly dark. Undoubtledly one of the highlights of MK Theatre this year. See here for tickets. Read more at: http://www.lutontoday.co.uk/whats-on/theat...eatre-1-8225284

I don't watch Factor any more so have no idea who Grace is but I doubt X Factor will ever produce another successful artist.

16/10/2017 • Entertainment • Interviews • LGBT • Lifestyle Boys Who Podcast: In Conversation with Will Young and Chris Sweeney Originally published in HISKIND Autumn ’17, out now. Far more than Woman’s Hour’s most loyal fan-following, Will Young and Chris Sweeney’s Homo Sapiens podcast series is, undoubtedly, your new favourite listen for all the right reasons. The brainchild of UK pop icon Young and acclaimed director Sweeney, this venture into the world of podcasting takes its inspiration from BBC Radio 4’s prestigious Woman’s Hour programme before adding a uniquely LGBTQ+ twist courtesy of your new favourite power-duo. Following the format of a weekly conversational debate, each episode examines a diverse array of LGBTQ+ issues with the likes of journalist Owen Jones, beloved musician John Grant, trans actress Rebecca Root and Queer As Folk creator Russel T Davies joining as guests. Equally as sharp and witty as it is casual and (understandably) necessary, Homo Sapiens owes its reception to the intelligent conversations and unique use for the ever-growing platform of podcasting. Over much-needed caffeine in Dean Street’s Soho House, the two tell all on how the show came to be, queer art and the rise of podcasting as a platform for LGBTQ+ voices. With such a unique concept behind Homo Sapiens, where did the original idea stem from? Chris: We both listen to Woman’s Hour loads and, on the 70th anniversary show, they revealed that 40% of their listeners were men and how that effects the show’s content. Honestly, that made me laugh which got me thinking that no one really has a show like ours so why don’t we just do it? The concept means we can talk about anything we want to say with an LGBTQ+ perspective which makes it so easy to do. Whilst podcasting is by no means new, the surge in popularity is undeniable… Chris: Lots of people actually don’t know what they are or do. They’re unfamiliar with that oddly laid-out section of iTunes that homes the podcasts. Will: It’s definitely a new territory which is why it’s so freeing. People find podcasts quite relaxing too, like an extension of an audiobook. Chris: A lady told me that she watches reruns of Bullseye with the volume down whilst she listens to ours… The rise in podcast popularity has allowed for a fresh, modernised way for the LGBTQ+ community to voice themselves in an alternative format. Is this something you noticed before creating your own series? Will: A good aspect of modernisation is everything is more accessible and immediate with more space for everyone’s voice. LGBTQ+ exposure in mainstream media is often within a category, so you get your five minutes and then it moves on. More people want more time to be heard which they can do with a podcast and for the LGBTQ+ community, that’s really liberating. We can talk about whatever we want and it’s normalised within the context of our podcast. Chris: Growing up, we only had the Littlewoods catalogue underwear section and that’s where you got your kicks from. There was really no other way of seeing hot guys in next to nothing and it’s something gay men of my generation understand. To me, these podcasts are an extension of that as it is common ground between LGBTQ+ people that doesn’t get discussed in mainstream media. What were the criteria for the guests chosen? Chris: Our own brief stated we wanted people who’d done something for the LGBTQ+ community as well as representing a current affairs issue. We wanted to talk to people that we knew we would want to listen to, a prime example being our mutual love for John Grant. Will: In terms of gay men in the public eye, he’s totally unique. He’s so honest and authentic and not afraid to say anything as he knows himself so well. Chris: Someone told us we should do an outtakes show, missing the point entirely. It’s scary sharing things about growing up LGBTQ+ and we acknowledge that with our guests. LGBTQ+ people are very used to sitting on a secret and that can potentially be carried through life. In the first episode, you discuss how dancing with a male mannequin in the Let It Go video affected Will’s perception as an artist and, perhaps, his career. If the same video was given a present-day release, do you think it would receive the same reaction? Will: I think the media perception of it would be the issue. People have told me that videos with two men are niche when it doesn’t even register with me. I thought it was interesting how people decide how something will be marketed based on the relationship of the two in the video. I recently watched a documentary on queer art, explaining how Coronation Street viewers had no idea that queer art was being broadcast into their living rooms as the guy who wrote it was gay and modelled a lot of the characters on drag queens. Now when I think of Annie Lennox and Bowie, I realise how powerful what they were doing actually was. Who would be the ideal guest? Will: I’d really love to interview Ru Paul. Is that too obvious? Chris: He’s done a lot for America in terms of bringing attention to the LGBTQ+ community and alternative topics. I think that’d be a fascinating conversation. Oh, and Michelle Obama, obviously. Listen to Season 1 of Homo Sapiens now at http://homosapienspodcast.com/ To keep up to date with the latest at HISKIND, follow us on Twitter & Instagram and like us on Facebook.

Great write up re the Homo Sapiens podcast in the Sunday Observer Mag.

CARDIFF OCTOBER 17th - 21st Louise makes her debut in Cabaret, old chum Infused with the chaotic decadence of pre-war Berlin, Cabaret, starring Louise Redknapp, glitters and engages Andrea Smith October 30 2017 2:30 AM That the musical Cabaret goes heavy on sexy fishnets, suspenders and corsets is a given - but it is also utterly thought-provoking beneath its glittery, hedonistic and somewhat debauched surface. I was blown away when I went to Cardiff to see the production ahead of its arrival at Bord Gais Energy Theatre in Dublin, and was still thinking about it several days later. Bill Kenwright's production is directed by Rufus Norris and choreographed by Javier de Frutos. The musical numbers are excellent, the dance scenes are superb and the storyline runs deep. It demonstrates why Cabaret has won 13 Tony awards, including best musical for the original Broadway production. Cabaret tells the story of the ill-fated romance between nightclub singer Sally Bowles and bisexual American Cliff Bradshaw, who has arrived in Berlin hoping to find the inspiration to write his novel. In the process, it tackles the serious issues that underpin the political climate of the time in pre-World War II Berlin, when the Nazi regime was beginning to make its presence felt. Handsome Philadelphian Charles Hagerty brings nuance and depth to the role of Cliff Bradshaw, who finds himself suddenly embroiled in the debauched world of Berlin cabaret, smuggling and politics. The story is told from his perspective, and it's a role that Charles - whose mum is from Derry - relishes. Having lived and acted for 17 years in New York, he moved to the UK last year after he married his British partner. In Cabaret, the relationship between Cliff and Sally seems to be heading towards marriage and a move to the US, but it ultimately falls apart. Sally having an abortion and Cliff being beaten up are among two of the more dramatic occurrences. "While it's a big production and has lots of razzmatazz, I wouldn't call it light entertainment," says Charles. "It's got meat to it, and has something to say - it's not just stringing together some great songs. I think it's one of the best musical theatre scripts ever written, and it's a treat as an actor to get to play a role of such substance." Naturally, all eyes were on Louise Redknapp, 42, formerly of the girl-band Eternal, who stars as Sally Bowles. Her debut musical theatre role has generated a lot of publicity since the tour began in September. This is principally because it was revealed over the summer that her high-profile marriage of 19 years to footballer Jamie Redknapp was in trouble. Having been out of the limelight for a considerable numbers of years, Louise's performing career was resurrected when she appeared in the 2016 series of Strictly Come Dancing. Cabaret was first staged on Broadway in 1966, and Liza Minnelli famously played the role of Sally in the 1972 film version. Her stellar performance turned the part into one of the most coveted in musical theatre, and following in her stilettos is a hard task for anyone. While not quite as fearless and ballsy in the role, Louise, who trained at the Italia Conti school, is excellent and strong vocally, and acquits herself with aplomb in her debut musical theatre role. While the Irish media interviews with Redknapp and Young were cancelled the night before we flew over due to a sudden "scheduling conflict", Louise admitted in UK interviews that she has tried to avoid the film recently, as the stage musical has a different take on Sally Bowles. For a start, Minelli's Sally was American - while the original book and stage show has Sally as a British woman who has gone to Berlin to be a cabaret star and is headlining at the Kit Kat Klub. Pop Idol winner Will Young plays the Master of Ceremonies at the club. He was nominated for an Olivier award for his performance in a production in the West End in 2012 and he utterly steals the show on this outing, too. His persona is delightfully flamboyant and charismatic, yet sinister and menacing. It works brilliantly and provides many of the lighter moments in a musical that is dark and filled with debauchery and pathos. A special shout-out to Susan Penhaligon playing German boarding-house mistress, Fraulein Schneider, and Linal Haft as Jewish fruit vendor Herr Schultz. Their doomed romance will break your heart and is well played. This production of Cabaret comes recommended, but prepare to go home dazzled, puzzled and provoked. LEEDS GRAND OCTOBER 24th - 28th The musical Cabaret, written by John Kander and Fred Ebb, first appeared on Broadway in 1966 and sketches the decadent and hedonistic era of Berlin prior to WW2, when the rise of the Third Reich and the nightmare of the concentration camps were becoming an insidious reality. Caberet is based on the stories of Christopher Isherwood, a young British/American writer who went to Berlin in the Thirties in the hope of gaining inspiration for his book, but found instead a city on the edge of Armageddon and politically heading for Nazism. The show has been has been popular ever since and is now on the road again with the lead role of the MC at the Kit-Kat Club, unsurprisingly named EmmCee, being played by Will Young. Those of us who remember the magnificent film of Cabaret, when Liza Minnelli gave a once-in-a-lifetime performance as Sally Bowles, will also remember the bizarre and unsettling performance of Joel Grey as EmmCee, with his undercurrent of lurking menace behind a facade of fun. Will Young is not quite so menacing, but plays EmmCee as a sexual degenerate whose aim is to have as much fun as he can, while he can. His wears the peculiarly child-like, but sinister, Bavarian lederhosen with a confidence that belies the absurdity of the attire. Young plays EmmCee to the manor born, his hair black, shiny and slicked, thirties style, flat to his head. His mouth is red-lipsticked and wide, he laughs hysterically with a mixture of bravado and chilling fear, and he is quite, quite wonderful. He sings Hitler’s national song for the Hitler Youth, ‘Tomorrow Belongs To Me’, to a collection of youngsters who are tethered to his hands, as he manipulates them by the strings of a puppet master. It is appallingly redolent of the beginning of the Holocaust, and Young’s final, mad crescendo is frighteningly real. The sleazy clubs of Berlin, and in particular the notorious Kit-Kat Club, are a magnet for the sexually adventurous and the brazenly curious, and amongst the flotsam of lost souls comes Sally Bowles. Sally is played by Louise Redknapp in her first musical after her success in television’s Strictly Come Dancing last year. She looks appealing and dances well, but her personality is flimsy and her voice is not strong enough for stage musicals. She sings the signature tune of Cabaret, which should be a show-stopper, but she has an odd way of stopping slightly before the word Cabaret, which usually comes at the end of a sentence. The assumption is that she will then belt out the word, but she either speaks it or sings it with no impact. It sounds very strange and slightly annoying. The Isherwood persona is in the form of Clifford Bradshaw, played by American-born Charles Hagerty, who is a good foil for Sally, although the two never really gel. There is no spark of love, or even comradeship, between them. He does begin to blossom as an individual as his suspicions about Nazism begin to take shape. and he takes a brave stand against it. There is a gentle autumn love affair between landlady Fraulein Schneider and Herr Schultz, beautifully played by Susan Penhaligon and Linal Haft, and its sudden demise as the Jewish Schultz hits the Nazi radar is heartbreaking. They are believable and funny, and the fact that neither of them can sing, but do, is extremely appealing The dancers in the Kit-Kat Club, male and female are simply superb. They move with both a feline grace and an awkward, sexually explicit stance of careless boredom. They exude an aura of abandonment of hope and morals which is painful to watch, and their skills as dancers is exquisitely defined. Cabaret manages to capture the tension of the era with a subtle but raw power that reflects the creeping danger of the political climate of the time. The final scene is horrific and unexpected, and carries a haunting reality and sadness that clings as you leave the theatre. A good solid show full of surprises, but the night belonged to Will Young. He has journeyed from pop music into the realm of stage performer and emerged triumphant. :party6: http://www.on-magazine.co.uk/arts/yorkshir...ew-leeds-grand/ THE GAY UK The first act is awash with exuberant musical numbers, performed in a classic burlesque style; with the stage glowing in gold and orange lighting, and with an abundance of scantily clad and ridiculously attractive dancers, showing off a plethora of muscular pecs, torsos and biceps. The indulgence and pleasure of the Kit Kat Club then yields in the second act to a darker and more emotional story as the rise of fascism takes hold, impacting on the free-living community of the club. Will Young excels in his portrayal of Emcee; making his performance seem effortless and natural and injecting the role with just the right balance of humour, ambiguity and campness to be charismatic and alluring. His performance of the shows musical numbers is excellent, especially in opening the show with “Wilkomen” and in a haunting rendition of “I Don’t Care Much”. Louise Redknapp has her moments as Sally Bowles, and to her credit can belt out the show’s tunes, but her acting ability does not shine through and any stage presence that she may have gets lost amongst the charismatic cast; whereas Charles Hagerty provides solid and tuneful support in the role of Clifford Bradshaw The show is well staged, with a beautiful cast, thoughtful and interesting choreography and an impressive lighting design. The set is relatively stripped back giving the whole production a feel which is not too dissimilar to Kander and Ebb’s other musical, Chicago. It is beautiful to look at and Rufus Norris’ direction keeps the show moving along nicely https://www.thegayuk.com/theatre-review-cab...-national-tour/ The Yorkshire Post Liz Coggins, 25 October 2017: Rufus Norris’s production borders on brilliance. He successfully captures the debauchery and hedonistic atmosphere of 30’s Berlin from its sensual perversions and decadence to the dark and brutal undertones of what is to come. Imaginatively designed and lit, the pace and the sheer physical prowess of the cast in climbing moving ladders and staircases, make this a seamless and dynamic production. Will Young, (Emcee) has created a creepy, sinister, stylized character that is menacing, veers towards the dark yet radiates a strange charisma to the audience. Susan Penhaligon (Fraulein Schneider) and Linal Haft (Herr Schultz) are outstanding and so beautifully believable in handling the humour and pathos in the roles. As Sally Bowles, Louise Redknapp has put her own stamp on the role which works well at times. However she has just not enough power in the emotional vocals to make them convincing. The Huddersfield Daily Examiner Samantha Gildea, 26th October 2017: *** Will Young shines in Cabaret at Leeds Grand Theatre Stealing every scene he appears in, singer and Strictly star Will Young wins the audience from the off When it comes to musicals, Cabaret is one of the all-time greats. And judging by the audience of all ages at Leeds Grand Theatre , love for the show has been passed down through the generations. The swinging live band, the dazzling, risque choreography and memorable lyrics offer layers of storytelling that deal with everything from poverty to power, sex, scandals and subterfuge. The haze of gin and cigarettes offer refuge from the political reality of 1931 Berlin - but for how long? Your host through the moral maze of the Kit Kat Club is Emcee, a role in which Will Young truly shines. Stealing every scene he appears in, the singer and Strictly star wins the audience from the off, playing the iconic character with the perfect blend of camp and cunning. I could happily watch him for hours. Louise Redknapp, another beneficiary of the Strictly training school, grows in confidence as the flighty Sally Bowles throughout the show - while her rendition of Maybe This Time didn’t quite pack the punch I hoped for, the Cabaret finale was a triumph. Louise Redknapp plays Sally Bowles in Cabaret at Leeds Grand Theatre (Image: Pamela Raith Photography) But while the former popstar was musically fantastic, she wasn’t quite stroppy enough as the tempestuous cabaret performer for my liking. Susan Penhaligon and Linal Haft as Fraulein Schneider and Herr Schultz have a genuine chemistry - Haft in particular has a comic timing that lifts every scene the pair feature in. You root for them from the off. And the wonderful Kit Kat performers writhe and smoulder throughout, bringing the Berlin club to life on stage. The set for this touring production, directed by Rufus Norris, makes clever use of staircases, moving dressing tables and other props, while placing the band above the stage at the heart of the action. But for all its glitter and sequins, Cabaret has a dark side - and an ending that takes your breath away. It’s a truly clever show - and one that stands the test of time. Leeds City Magazine Matthew Jameson: Sit back, relax and get ready to be dazzled and slightly shocked with the extravagance and sheer delight of this explosive production as Cabaret hits the Leeds Grand Theatre with a bang! Set in Berlin in the early 1930’s against a backdrop of free thinking and easy sex soon to be completely repressed by the rise of the Nazi Party. We meet some interesting and emotional characters consumed by the lifestyle and decadence of the Kit Kat Club, however immoral, is their only haven. Clifford Bradshaw (Charles Hagerty) just arrived from America, thrown into this new way of life, questioning his own morals and sexuality with a shaded past. He encounters Sally Bowles (Louise Redknapp) who’s frank and direct way of getting what she wants enchants Clifford to the point of self-discovery. We are guided through the poignant journey by Emcee (Will Young) who perfectly adds sugar, spice and everything nice to encapsulate us right to the very end, making comment on the change in society and looming downfall. Will Young smashes it giving a spectacular performance capturing the light and dark of every situation within the narrative. The perfect moments of comedy reflected by the perfect moments of sadness in reflection of the horrible truth closing in. Louise RedKnapp and Charles Hagerty convince us of their emotional connection and bring down the house with their incredible musical performances. The supporting cast also raise the roof with Susan Penhaligon as Fraulein Schneider and Basienka Blake as Fraulein Kost giving their all and fighting off one or two naked sailor boys in one way or another. The dancing and musicality of this production is spellbinding and every member of the cast proves what a smash Cabaret is and always will be. Get down to the Kit Kat Club or you’ll miss out on this gem of a show" THEATREMUSINGSSITE REVIEW – CABARET November 5, 2017 Cabaret – Grand Theatre, Leeds and touring: ***1/2 A recent trend has arisen in musical theatre of casting shows based on star pulling power rather than star quality. This touring production of Kander and Ebb’s Cabaret has quite deliberately cast Louise Redknapp and Will Young in the two leads due to their pulling power, but has this too been at the expense of quality performances? The answer is – well: yes and no. This touring production is the reimagining of Rufus Norris’s 2006 West End production and is a veritable fetish-fest. The boys and the girls are definitely beautiful and the dancing (particularly of the six stand-out Kit Kat girls) is tantalising, titillating and downright sexy. The synchronicity of the performers to Javier Du Frutos’s choreography is faultless and set against the glitzy starkness (a feature I could have sworn was an oxymoron) of the production manages to keep the show alive. For those unaware (if any such person exists) the show is based on Christopher Isherwood’s superior short novella ‘Goodbye to Berlin’ and tells the story of aspiring writer Cliff Bradshaw (played well by Charles Hagerty who makes the most of an underwritten role) as he arrives in Berlin, meets sensual showgirl Sally Bowles (Redknapp) and tries to come to terms with the rise of the Nazi Party in 1930s Germany. Interspersed with Cliff’s story Kander and Ebb take us into the world of the Kit Kat Club in a multi-layered narrative led by the other-worldly Emcee (Young). As Sally Bowles, Louise Redknapp has a powerful set of lungs and dances passably as one of the more – ahem – mature Kit Kat Girls. But there is something missing from her Sally Bowles – that certain je ne sais qua that is needed to play the flighty and flirty character who oozes sex appeal and who mesmerises Cliff and indeed all men who come under her spell. When Redknapp’s Sally declares that she is busy ‘screwing’ somebody, it falls flat and is all rather cringe-worthy, as it is when any ladies of a certain age attempt to act a decade or so younger. For all her high-kicking athleticism in the fishnetted dance numbers, this performance falls short in the sexy-stakes. By contrast, Will Young as the Emcee (reprising the plaudit-winning performance from the West End a few years back) is made for the role. He lurches from zany, to angry, to loved up, to flirty, to melancholy all at the drop of a hat and each emotion is played with aplomb. This character is a tease and ethereal Master of Ceremonies and when he is on the stage, Young is very definitely in charge. Set against the rising tide of Nazism, and central to demonstrating how the characters are caught up in the evil engulfing Germany are Susan Penhaligon’s Fraulein Schneider and Linal Haft’s Herr Schultz. Both play the elderly romance, doomed due to Schultz’s Jewish heritage for all the heart-wrenching pathos that it deserves (you can even forgive Haft missing a number of the higher notes in his songs). They bring genuine emotion and warmth to the show and only the hardest of hearts could fail to be moved as the love affair reaches its doomed end. This is a production that is sexy, fresh and innovative. It highlights the seediness and sensuality of the Berlin underground scene whilst never shying away from the hard-hitting underlying inevitability of Hitler’s rise to power and the fast approaching end of the party. The re-staged ‘Tomorrow Belongs to Me’ number at the end of Act One in which the Emcee as Hitler literally acts a puppet-master to his willing executioners is particularly evocative and the stark ending leaves you feeling appropriately chilled. A musical that is darker than Kander and Ebb’s other works is given appropriate treatment here. The casting is perhaps slightly to the gimmicky side, but judging by the sell-out shows being reported from the various venues it obviously worked and Young’s performance alone is worth the price of a ticket. A great night out with cracking numbers, a fantastic supporting cast and one hell of a Cabaret. https://theatremusingssite.wordpress.com/20...review-cabaret/

Love that Will still gets such prestigious charity gigs. Andy Murray offers charity tennis lesson with him and Federer for £50k By Annie Butterworth - October 11, 2017 078 TENNIS ACE Andy Murray has unveiled a “once in a lifetime opportunity” to train with him and Roger Federer – for an eye-watering £50,000. The exclusive tennis clinic offers four lucky fans the chance to “personally interact” with the two world tennis stars as part of the Andy Murray Live charity event being held next month. Murray revealed the details of the event today which includes a black-tie dinner and an exhibition match between him and Federer at the SSE Hydro in Glasgow. The £50,000 fee includes a table for eight people at the black-tie fundraiser, court side-seats for the exhibition match and the tennis session with Federer and Murray. Other Table packages are also available, including the chance to sit with Jamie and Judy Murray for a slightly more affordable £20,000. While a basic six person table at dinner, without any tickets to the match the next day, will set you back £10,000. The exclusive dinner held on November 6th at the SSE Hydro is being catered by Michelin-starred chef Albert Roux. Live entertainment will also be provided, with a music performance from Will Young with TV comedian Rob Brydon acting as auctioneer for the evening. Guests at the event will be given the chance to bid on unusual prizes including a golfing experience with former British tennis number one Tim Henman and a set of used rackets from the big four – Nadal, Djokovic, Federer and Murray. A brochure sent out to fans by Andy himself said: “Dear Guest, “Following the success of last year’s inaugural Andy Murray Live tennis event, I’m delighted that we are returning to The SSE Hydro, Glasgow on Monday 6th November for what promises to be a very special black-tie fundraising evening in aid of Unicef and local charity Sunny-sid3up. “Although standard tickets to the tennis event are sold out, it is still possible to join us at the Fundraising Dinner by buying a table.” The brochure added the £50,000 table is “The Ultimate Experience”. It read: “Truly, a once in a lifetime opportunity for you and your guests to to combine the finest hospitality and premium live entertainment at the Fundraising Dinner with Andy, coupled with an unforgettable Andy Murray Live experience the following day when you will personally interact with both Andy and Roger during your clinic and then witness the evenings battle on court of these two legends from the comfort of your prime positioned hospitality box.” “Four places in a shared tennis clinic of thirty with Andy Murray and Roger Federer on Tuesday 7th November, at The SSE Hydro, with lunch which includes a Q&A session with Andy and Roger”