Why is everyone so excited about Mutya Keisha Siobhan? -gigwise.com

Friday 2nd August 2013 by Michael Baggs
Tags: Mutya Keisha Siobhan

Why is everyone so excited about Mutya Keisha Siobhan?

They're just another girlgroup right? Wrong. Very wrong

 

The original Sugababes are back and a lot of people are getting very excited about it. But why, when you can't step out of your front door without bumping into a band in the midst of a comeback, is the dawn of Mutya Keisha Siobhan causing such a fuss?
Mutya Buena, Keisha Buchanon and Siobhan Donaghy arrived on the music scene in 2000 with their astounding debut single, 'Overload' - a smart, sassy and achingly cool pop debut. During the group's 13-year career, the term 'Sugababes' became pop code for 'shambles' as the edgy, spiky founding members were jettisoned from the group for increasingly more glossy members.
Now reunited as Mutya Keisha Siobhan, their comeback is big news. The trio gave their first interview to London hipster magazine Ponystep, and their presence has even filtered through to NME, who cover the goings on of MKS among the regular updates on Beady Eye, Babyshambles, Arctic Monkeys and the like.
But why the interest in MKS, when the return of (for instance), Atomic Kitten during The Big Reunion barely raised so much as pair of a false eyelashes? Check out ten good reasons why the return of Mutya, Keisha and Siobhan is such a big deal - and why we really should be very excited indeed...

1. First of all, it is astounding that they are back together at all, considering the initial break was of apocalyptic proportions

2. But more importantly, comeback single 'Flatline' is properly brilliant


3. And of course, 'Overload' still sounds amazing, 13 years on


4. With a band who date back over a decade, there is a nostalgia value to things

5. When it comes to girlgroups in the UK, we really don't have much in the way of credibility. That's Little Mix below, FYI

6. This is as close to a cheesy dance routine MKS are ever likely to get

7. Then, of course there were solo careers. Mutya's Groove Armada collaboration was an absolute work of genius


8. Siobhan Donaghy's second solo album was a masterpiece. It was also a massive flop, but that's by the by

9. The album is likely to be quite good. After all, Dev Hynes is involved and we all know what he did for Beyonce's little sister (all hail Solange etc)

Photo: Dev Hynes, Facebook

10. But most of all, it doesn't matter what they call themselves, we know who they really are

Open casting call for Happy Days the musical : Five lessons TV should learn from theatre - The Stage

Five lessons TV should learn from theatre

By:

Matthew Hemley

Heidi Range will star in Happy Days the Musical, which this week held open auditions. Photo: Paul Coltas.

Published

02:00pm
Thursday, August 1, 2013

Filed under

• Hemley on TV

Tagged

Amy Anzel, Andrew Wright,Happy Days, open auditions,television

This week I sat in on an open casting call for Happy Days the musical. As well as seeing enough kicks, cartwheels, jazz hands and wide-eyed enthusiasm to last a lifetime (and all of that was just from the director Andrew Wright) I came away contemplating open auditions in general.

They aren’t hugely common in the theatre industry – they used to be much more so. But recently we have started to see them return. Last year, for example, there were open auditions for A Chorus Line, and now Happy Days has followed suit.

It made me wonder whether television could take a leaf out of theatre’s book, and hold more open auditions for parts in dramas and series

According to the producer of Happy Days, Amy Anzel, she wanted to hold open auditions to give “everyone the opportunity to be seen” -people who might not normally be called, whether that is because they don’t have the best agent, don’t have an agent yet, or they have just left drama school.
It’s a lovely sentiment. And a great idea – even though open calls are time-consuming and labour intensive. I’m told 700 people applied to be seen for the open call of Happy Days, and a whole day was put aside to see the 400 or so who got their applications in first. That’s a lot of work. But, as Amy and Andrew point out, if they end up finding one person from the process it will be worth it. On top of that, it gives those auditioning a taste of the real world.
It made me wonder whether television could take a leaf out of theatre’s book, and hold more open auditions for parts in dramas and series.
So, with that in mind, below are just a few lessons I believe television could learn from theatre, starting with open auditions

1. Open calls. Yes, there are usually open calls for reality shows such as The X Factor (they rely on them to find the oddballs) but could dramas and series also benefit from holding open calls? If they did this, perhaps they might well unearth some interesting talent – and perhaps we might see more unfamiliar faces on screen, rather than the usual suspects. This is something that is often complained about. E4 series Skins has done it before, but more series could give it a go. Okay, I know open calls mean more expense, and more time, but TV isn’t particularly poor. And if theatre can manage it, TV can too.
2. Longer rehearsals – or just any kind of rehearsal at all. Often, when interviewing TV actors, I hear that there is no time for rehearsals. It’s a case of doing your homework before you get on set. But what about building a rapport with your fellow cast members? Exploring your character? Experimenting with a role? Getting to know the director? I know budgets are tight, but one week or two wouldn’t break the bank, would it? And think of the benefits.
3. Keep the creators/writers involved. I hear, quite often, complaints that writers and others involved in creating a TV drama series are often sidelined when production of the show begins. Bolshie directors or executive producers, possibly threatened by the writer’s inclusion, exclude them from the production once a script is handed in. I am not saying this doesn’t happen in theatre, but it seems to me it’s a much more supportive environment, generally – and I know, for example, the Happy Days team are planning on working very closely with the show’s creators.
4. Speak up, I can’t hear what you’re saying! You may have read about complaints recently that some viewers have not been able to hear what some actors on television are saying. This, perhaps, has to do with the desire on the part of the actors concerned to sound true to life. But if no one can hear what you’re saying, you’re not being true to anything. On the stage, clarity is paramount. I am not suggesting TV actors start shouting, just that a little diction may not go astray.
5. Lighten up and have a laugh. One of the things I love about the theatre industry is the community feel it has – even among rival productions. Actors (generally) seem to really root for each other – and come together when they need to for a good cause. Such as the casts of Les Mis and Phantom coming together to play football for charity,or the West End Eurovision event. On top of that, the Olivier Awards (when you’re actually there watching it) seem to have such a laid-back, cheerful vibe. The BAFTAs, by contrast, is a little more stuffy, more serious. I guess what I’m saying is – theatre knows how to have a bit more fun. But I may be wrong. In which case, tell me…

HEMLEY ON TV

The Stage's resident TV expert Matthew Hemley tackles the big issues facing the small screen.

The Mutya Keisha Siobhan concert was pretty good you know

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The Mutya Keisha Siobhan concert was pretty good you know

Posted by Popjustice on Aug 02 2013, 13:44

And when we say ‘pretty good’ we mean one of our Top 10 Pop Moments Of All Time.

The danger, we felt beforehand, was that it would be a slightly insular look back at times gone by, but the setlist was a perfect mix of just enough really old stuff, just enough mid-Babes more recent stuff, and just enough ‘Flatline’-isn’t-as-good-as-it-gets futurestuff. Surprisingly, it really felt like the start of something.

The best new song they played last night, which we hand’t heard before, is a song called ‘Today’. MNEK worked on it and it has TWO AND A HALF CHORUSES.

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The defining point of the show, however, is captured in the following YouTube clip of the band performing ‘Stronger’. They key moment comes at 2:10 when it gets to ‘the Heidi bit’. You wonder how the band will handle it, and the person who’s recording the clip assumes, like most of us, that Mutya will take the vocal. But then… Well, watch the clip.

We can’t remember the last time we heard a live audience react like that. A very special moment.

Here’s another one of our favourite new songs – ‘I’m Alright’.

We love ‘No Regrets’ as well.

As for the rest of the set, well, that was jolly good as well. YouTube isn’t short of clips if you fancy losing the rest of your afternoon

Source: http://www.popjustice.com/briefing/mutya-keisha-siobhan-was-pretty-good-you-know/117929/#ixzz2av9vaseo 
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