As DreamWorks brings its most valuable franchise to the West End, in the form of Shrek the Musical, Alistair Smith talks to the company’s chief creative officer Bill Damaschke about the animated film studio’s ventures into live theatre in this week’s issue of The Stage:
I hope it runs a very long time. I hope the audience here embraces it and I hope all the work we’ve done on the show over the last five years has added up to the company and the production here being the best and the most evolved, and the best of everything we’ve learned along the way
Things went spectacularly wrong for Richard Blackwood when he tried to make it big in America. After a decade spent rebuilding career, he tells Tony Cooke he is excited to be playing a character made famous by Eddie Murphy in the new musical adaptation of Shrek
Singing was never my forte, but now they’ve helped me to breathe and know what my tone is, and I’m like: ‘Wow! Is that me sounding like that?’
In our special Dance Training supplement, find all the latest course information as well as profiles of choreographers and dancers and tips for keeping in shape
Also this week:
CBeebies entertainer Justin Fletcher tells Ben Dowell how he manages to juggle several different projects and keep smiling
From Fela! to Frankenstein, recent productions at the National Theatre have beennotable for their innovative use of music and sound. Nick Smurthwaite speaks to the composers and sound designers who are making audiences prick up their ears
Insight: The ACE axe has fallen and companies must find new ways to secure money. Nicholas Hamilton explores whether crowdfunding — a model that asks the public to donate online — is a viable solution
When Charles Hart was asked to contribute to The Phantom of the Opera, it transformed his career and his life. He tells Mark Shenton about the fateful day he received a telegram from Cameron Mackintosh, and what it is like collaborating with Andrew Lloyd Webber
As the demand for seats in theatres rises, basic economics dictates that prices will follow suit. But, Mark Shenton argues, that shouldn’t give producers carte blanche to charge what they like
Dear John: I would like to develop and market my own musical and performing style. How do I go about doing this?
If you want to train in music technology and need help with funding, why not consider applying for The Stage Live and Recorded Music Scholarship at Herbert Justice Academy of Performing Arts in Beckenham? The funding for the two-year course is worth £14,000. In addition HJA is offering two Stage Performing Arts scholarships, together worth £54,000, as featured in last week’s paper. For application forms for all scholarships, visit thestage.co.uk/schoalrships
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