In The Paper

This week, The Stage presents a special themed issue, in which we celebrate the 60th birthday of Andrew Lloyd Webber with a special focus on his unique contribution to the theatre industry.

• Writing exclusively for The Stage, Cameron Mackintosh gives a personal birthday greeting

• We reveal the results of our poll which asked what readers’ favourite ALW musical was.

• Insight: Andrew Lloyd Webber continues to break the mould of British musicals, both as a composer and producer, while reality TV shows have boosted his public profile. Mark Shenton examines his global legacy and considers why, as a prominent West End theatre owner, he has been reluctant to refurbish his venues

• With blockbuster hits like The Phantom of the Opera, Cats, Evita and Joseph and the Amazing Technicolor Dreamcoat now mainstream staples, it is sometimes easy to forget about the depth, complexity and innovation of Lloyd Webber’s work, says Michael Coveney

• Andrew Lloyd Webber’s rare combination of creative and commercial flair has seen him capitalise on the markets available from TV to Las Vegas and the internet, writes Alistair Smith

• Training: Andrew Lloyd Webber has long been involved in musical theatre education, but his recent appointment as the new president of Arts Educational Schools London is likely to draw even more attention to training young performers, writes Susan Elkin

• Nick Smurthwaite meets Lynn Jezzard, who joined The Phantom of the Opera’s corps de ballet when it opened in 1986, and has remained with the show since, becoming resident choreographer in 2002

Also in this week’s edition:

• Continuing her exclusive weekly column, vocal coach and Any Dream Will Do judge Zoe Tyler reviews BBC talent show I’d Do Anything — and says why she thinks Rent actress Francesca Jackson should have been sent home for good from Nancy School

• Currently starring in The Lady From The Sea at Birmingham Rep, Claire Price tells Al Senter why Ibsen’s female characters appeal to her so much and why, after playing a succession of classical theatre parts, she chose to push for a television profile by working with Ken Stott in ITV’s Rebus

• Geoffrey Perkins has a string of comedy hits to his name. As his latest success, Benidorm, returns to ITV1 for its second series, the producer still dreams of finding that winning formula for prime time sitcom gold, writes Mary Comerford

• Maggie Brown examines the growing success of BBC1’s Doctors as it takes on Five’s recently acquired Neighbours in the daytime slot

• Natalie Anglesey speaks to film star and country music legend Kris Kristofferson about his varied life, and how landing a helicopter in Johnny Cash’s backyard helped kickstart his career

• Liz Thomas on the revolving door of television executives

• Maggie Brown on media: What Channel 4’s Next on 4 policy rethink means for its drama output

• Dillie Keane: I’ve just played Lady Bracknell — but I wish I could have been Miss Prism

• Dear John: “I’m doing a show based on an underlying issue which I am really committed to. How can I make my performance theatrical, rather than dry and worthy?”

• Backstage Focus: Barbara Eifler reports from the recent Health and Safety Conference organised by the TMA with the ABTT and SMA.

• The Stage remembers Anthony Minghella, who passed away last week

Plus all the usual news, reviews, national UK theatre listings and recruitment ads.

The Stage is available from major newsagents, including most High Street branches of WH Smith, every Thursday priced £1.30. You can also subscribe and receive a copy by mail every week: more details and prices at http://www.thestage.co.uk/subscribe/.

Posted by Scott Matthewman at 1:27 PM | Permalink | Comments (0)

In this week’s issue of The Stage:

• The Passion scriptwriter Frank Deasy tells Matthew Hemley what inspired him to pen the story of Jesus’ last days for the BBC, and why he found the human approach the most dramatic of all

• As the successful US rock’n’roll musical Jersey Boys transfers to the West End, director Des McAnuff talks to Nuala Calvi about the challenges he faced brining the story of Frankie Valli and the Four Season to the stage, his encounters with the Mafia and what sets this show apart from the standard jukebox musical.

• Insight: At least half a million teenagers are now taking drama, dance or singing lessons every week. Susan Elkin looks at the market of independent theatre schools for children and assesses its development

• In light of the government’s plans to fund state school excursions to ballet, opera and classical music concerts, Hilary Strong, director of the National Council for Drama Training, considers how youngsters view various forms of theatre and how important it is for children and their parents

• Dear John: “Can I further my career as a dancer better as a solo artist or as part of a dance troupe?”

• Postgraduate Training: From scriptwriting to performance and directing, Susan Elkin gives an overview of the wide range of postgraduate training available and advises on how to go about choosing the right course and securing funding for your study

• Financial Services: Although it’s not a subject many actors like to dwell on, keeping finances in order is one of the most important elements of the profession. News editor of Accountancy Age Alex Hawkes outlines his top money-saving tips, while showbiz accountant Robert Breckman looks at the problems facing grant-aided companies since Arts Council England announced its cuts

• Former How Do You Solve a Problem Like Maria? and Any Dream Will Do judge Zoe Tyler joins The Stage with a regular weekly column reviewing BBC1’s new theatre recruitment show, I’d Do Anything

• Leaping back to London after a 25-year absence, the New York City Ballet is performing at the Coliseum this month. Kevin Berry talks to NYCB teacher Sean Lavery and principal dancer Jonathan Stafford about the ongoing influence of the company’s founding fathers

• Thirty years on from when it was first televised, Bob Hoskins shares his memories of starring in Dennis Potter’s seminal musical trilogy, Pennies From Heaven, with Charles Norton

• Columnists: Ian Herbert, Richard Jordan, Clive Barnes, Patrick Newley

• Showpeople: Interviews with Amy Manson, Paddy Cuneen

Plus all the usual news, reviews, national UK theatre listings and recruitment ads.

The Stage is available from major newsagents, including most High Street branches of WH Smith, every Thursday priced £1.30. You can also subscribe and receive a copy by mail every week: more details and prices at http://www.thestage.co.uk/subscribe/.

Posted by Scott Matthewman at 4:05 PM | Permalink | Comments (0)

In this week’s issue of The Stage, we include our annual guide to summer school courses. Whether you’re a teenager interested in starting in the performing arts, a keen amateur hoping to hone your abilities or a professional wanting to learn new skills, there is a summer school course for you. Susan Elkin looks at some of the training on offer in 2008.

Plus, exclusively online, a Dear John special in which singer Lorna Marshall talks about the benefits of teaching summer courses.

Also this week:

• With the ‘people’s Maria’ Connie Fisher leaving The Sound of Music last month, Andrew Lloyd Webber had a cunning plan to regenerate interest in the show and its new star. Alistair Smith talks to Summer Strallen about keeping her Hollyoaks plot line quiet and replacing a stage favourite

• In an exclusive news report, Matthew Hemley talks to performers from BBC1’s The One and Only tribute show, with some claiming they have been left out of pocket and out of work

• Insight: Rumours of the death of digital radio could not be more misleading, says Michael Quinn

• Managing Director Craig Hassall has turned the English National Ballet around from an ailing company to taking on tours across the globe.

• Maggie Brown on Media: The BBC’s Passion | Crediting the credits

• Arthur Smith: Presenting TV can sometimes be fun

• Dear John: “Is it really viable to run your own business alongside being a performer? Won’t one side or the other suffer?”

• Training: The Little Angel Theatre is at the forefront of training in professional puppetry

• Stars of The Fixer Andrew Buchan and Tamzin Outhwaite had very different routes to television success. They explain all to Mary Comerford

• Voice coash Patsy Rodenburg has staged Shakespeare in maximum security prisons, taught in poor areas of India, braved knuckle-dusters in London and worked with the best of British talent

• Joss Ackland talks to Matthew Hemley about his role as Big Daddy in Radio 3’s forthcoming adaptation of Cat on a Hot Tin Roof, and reveals that after eight years avoiding the theatre, he is considering a return to the stage

• Backstage Focus: The new Rose Theatre in Kingston, with its medieval-style stage and tiered circular Elizabethan-type auditoria, is a wonderful homage to 16th-century design, write Geoffrey Joyce

• Catapulted to stardom by her 1976 duet with Elton John, Kiki Dee’s career has followed a more laid-back path than her flamboyant partner. Dee talks to Michael Quinn about her ‘all-sorts’ career and touring with songwriter Carmelo Luggeri

Plus all the usual news, reviews, national UK theatre listings and recruitment ads.

The Stage is available from major newsagents, including most High Street branches of WH Smith, every Thursday priced £1.30. You can also subscribe and receive a copy by mail every week: more details and prices at http://www.thestage.co.uk/subscribe/.

Posted by Scott Matthewman at 12:19 PM | Permalink | Comments (0)