“The Wizard Of Oz” booking opens tomorrow, Saturday – a day earlier than previously advised!

“Theatremonkey: A Guide To London’s West End” can now be found on the ground floor at Waterstones Piccadilly. Head for the London section in the left corner, and it is in the left hand wall shelves, about fifth shelf down.

Did the right Dorothy get put on the moon this week? I’m not sure, or at least I wasn’t until Stephanie ended up in the bottom two. For my money, Sophie again turned in a performance that didn’t ‘do it’ for me while Steph should have stayed out of the danger zone. And then the results were announced.

Stephanie is only 18 and to deal with that level of rejection at any age is tough. On the other hand, there are many youngsters her age already working in the West End professionally, handling daily stress that she clearly just wasn’t ready for yet. I hope she realises that with training there is indeed a future, and she only needs to prepare for it. The way in which she managed to keep going in her final moments showed the strength she has.

Of the rest, my guess is that next week’s Double Dorothy Death will see Steph and Sophie go, with Jenny following them a week later. It’s now at the stage where it’s a real shame to lose anyone, however, and with any luck all the contestants will find roles they deserve.

By the way, public booking opens this Sunday, 9^th May for the show at the Palladium. You know the book to consult when choosing your tickets – and stock levels at Foyles, Waterstone’s, Amazon and Book Depository are high enough to meet demand if you are quick.

The good news is that the Finchley Road, London branch of “Waterstones” will shortly be stocking “Theatremonkey: A Guide To London’s West End” in their London section. Amazing what a chat with a very friendly department person can do… they even promised to display it “face outwards” – that is, with the cover showing – when it arrives. Most kind.

Further good news is a spike in sales at Amazon.co.uk over the weekend and into this week. Not sure why, but Mr P is looking happier than he has in a while. That could be the weather… or a beer sale at his local supermarket, though.

The bad news is that, having persuaded my local library to stock a copy of the book, it is now recorded as “missing, presumed read.” Yes, that pocket sized edition is ideal for slipping into pockets. The next library copy will be chiselled on paving slabs, with a crane provided to help flick through the pages. Try getting that out the door under your jacket…

Meanwhile, over in the land of Oz, “Sun” newspaper readers are getting a week’s head start on tickets before the rest of us. The show is going in to the Palladium from March 2011, which I think is good news. Suddenly Jessica, who was recognised as having a “unique talent” (expressive face and quirky performances) by the Lord this week (who would know), is a contender. A year is plenty of time to put her through an intensive course on how to lead a cast.

On the whole, I was pretty disappointed with the week’s performances. The Calamity Jane / Oklahoma sing off I thought was messy, with none of the girls really standing out. Favourite of mine Jenny didn’t do as well as usual either, and they all seemed tired. Still, Stephanie has begun to emerge as more possible than before, with a slinky Bond theme performance. The right girl left again, also good, but had she given the performance of “I Know Him So Well” every week through the competition to date, you wonder if she’d have been standing there. Hopefully another person worth training has emerged from the searches for wartime nuns, Biblical orphans and Dickensian hookers.

Come to think of it, the Dickensian hookers were for “Oliver!” It’s just occurred to me that some member of a Fagin’s gang may have both the training and the interest to go pinching theatrical library books… means and motive for sure, I’d say…

“Over The Rainbow” week 3 – and after the aberration that was last week’s elimination, Dani rightly took the “rainbow ride.” Her time may come, but it isn’t now. Danielle was a surprise in the bottom two, but her performance was better on second viewing (the bit where they summarize the show), I thought, so immediacy was probably a reason. Of the rest, Emile, Sophie and Stephanie are still not doing it for me – “Moon River” in particular drowned, alas. Steph dazzled with “Out Here On My Own” and while Jessica was very animated, are her facial expressions and whole approach going to let her lead a large show? I’d love to see her on stage, but is now right?

Experience is everything. This week I was invited to “Mamma Mia” (perk of the job) and caught my favourite leading lady giving the performance of her life. With 22 years of professional experience, Linzi Hateley vividly demonstrated everything the young Dorothy contestants would need for a musical theatre career. At around the same age as the TV contenders, it was interesting to contrast Hateley’s skills with those of the actor playing her younger daughter. While competent (and demonstrating great future potential) there was visible proof that there really is nothing like years of learning as you work for a stage performer.

In other news; along with leading ladies, the Lord has other things to worry about. Westminster Council are not keen on his painting the front of the Adelphi Theatre black for “Love Never Dies.” I found this odd. For most of the 1980s and early 90s that front was obscured by a “Me and My Girl” animated poster. It was in terrible condition before that, and Lloyd Webber had it restored in 1993 for “Sunset Boulevard.” The frontage he painted over is thus less than 20 years old, so what exactly is historic to protect?

The Lloyd Webber “tell”* was much in evidence this week. What is his “tell”? Well, as a keen student of the past three ‘star searches’ ( I would be, it doesn’t half help us small websites and book sellers, you know!) it is this: he’s always hardest on the performers he’d really like to cast.

This week, one of the J’s turned in a perfectly OK performance… and that was her problem. The ALW tell was in evidence as Jessica was told to improve. Tough love, but the right thing to do, I thought.

Big shock of the week was of course Bronte being sent over the rainbow for having an unusual name. What grace and professionalism she displayed when told, however. That’ll stand her in good stead for the future, I’ve no doubt. Like Lauren, I felt that no way did either deserve to be there, and it was almost impossible to pick one to have to go. Experience was as good a reason as any, but of course we all know Bronte will get there in the end.

Only other thought is still, “why so few show tunes when they are casting for a musical?” Possibly it’s because the average viewer doesn’t like show tunes – the only singer of one this week ended up in the bottom two despite delivering a difficult number to perfection. On the plus side, though, didn’t Danielle deliver this week, bouncing into my top five. And the second of my two fave J’s – Jenny – impressed again too.

Only question is, can I take the Saturday / Sunday night excitement much longer? Certainly the closest run contest yet, and really like the way the girls sarcastically thank ALW for doing it so neatly at the end of the show each Sunday!

* A poker term. It means any involuntary mannerism that inadvertently gives away your feeling about something.

This is shaping up to be the most interesting battle for a West End TV cast role yet. For me, it’s still the two J’s – Jessica and Jenny. My only worry with Jessica is whether she has the training to cope with being a West End leading lady – both the technique and the stamina required. Jenny has the training, and about the same level of watchability, but perhaps not quite the uninhibitedness that makes Jessica different. Either way, I’d be happy to see either of that pair win the role.

The two with the fewest votes also fascinated me. The public was, I thought, completely predictable in choosing the two performers whose age or ethnicity least matched some widely held “Dorothy” image. Steph was completely impressive both in performance and vocally, and could be a very charismatic Dorothy. Amy, fair enough, was probably just too ‘mature’ in every way for the role of a 15 year old girl. Good voice, though, and others were weaker on the night I felt.

Only other comments are that the judges seem refreshingly ego-free and knowledgeable this year, and the camper-than-a-row-of-tents exit for the loser is the funniest since “So Long, Fair Well” in the original “Maria” series. What happens, though, if they get a girl with a fear of heights and / or a “pedic perspiration” (read your Orwell) problem?! Roll on next week.

As for the other major voting contest, what does anyone do? It’s obvious that any vote must be for change… but the only way I can see to do that is to vote how I REALLY don’t want to. On the other hand, I think I’d hate the consequences of not doing so even more…

Oh, and as this blog pushes my book – a fifth great review on Amazon.co.uk, and very nice push in a topic on favourite theatre books at www.whatsonstage.com (thank you!). Still good availability at Waterstone’s shops, less at Foyles in Charing Cross Road for the moment… so hurry if you are in that area.

Those Andrew Lloyd Webber casting shows are addictive, and “Over The Rainbow” (or “The Oz Factor” as Lord Orchestra Pit wanted to dub it) is no exception. As he observed, the standard this year is incredibly high, and I’m really looking forward to the weeks ahead.

Most interesting, during Saturday’s contest to reduce 20 to 10 auditionees, I predicted correctly 8 out of the final 10. At this stage, Jessica was the stand-out for me, with Jenny also one to watch, I think. For the “Wild Card” I’d like to see Claire Harbourne get through, though Tegan and Emily are also possible… roll on Saturday – and more from me after the Easter Break (back, probably next Wednesday if chocolate O.D. doesn’t strike).

 In book news, good mentions for the monkey from Lovemoney.com, and also in Mark Shenton’s (writer of the theatremonkey book foreword) “The Stage” blog. Thanks to both!

Both readers of this blog will recall that I castigated Lord Orchestra Pit for re-using a West End song in his £67.50 a ticket new show. Saw the show on Wednesday night. Sorry, m’lud. A case of right song, simple-yet-inspired staging and outstanding vocal performance. Stopped the show, and rightly. In fact, taken as a whole, this is a production worth seeing… and that’s from a confirmed member of the “can’t stand the original Phantom” club. There’s odd reduced price tickets flying around on some weekdays at the moment, and the odd dining offer – think about it.

Onward, and Lord OP unveils his new search for a musical leading lady tonight on BBC TV. Back in 2006, a desire simply to see “The Sound of Music” on stage (just to find out if it was as tooth-rotting as the film version – it isn’t, incidentally) lead me to book 50 superb stalls for the night after the press performance. Then came the TV show… and suddenly my group was delighted that it had. That show, and Joseph after it (though not, surprisingly, Oliver!), went on to crash the theatremonkey.com website the day after the final as readers sought tickets and information.

Whoever derides this type of contest as “free advertising” should consider that the entire London Theatre industry benefit from this injection of interest… so watch, vote… and book your trip over the Rainbow when they find a theatre to house it in.

Not that the mass media seemed to care much, but the Olivier Awards were presented at the weekend. It drew over 100,000 viewers to the live streaming, which was pretty good going. An extended highlights show is still available at www.officiallondontheatre.com for those who missed it too.

The winners surprised me. “The Mountaintop” over “Jerusalem” as best play? “Hello Dolly” as best revival? Best choreography for sure, but overall better than “A Little Night Music”? Proof that the viewing public and those who vote on awards see things very differently – even if a couple of representatives of the public are involved in the process.

A theatremonkey.com reader today said that it’s refreshing that both book and website are completely from ordinary theatregoers’ perspectives. Even when I and readers disagree (“Phantom of the Opera” a great show?), the pleasure is always in the sharing and the surprise… which is where this entry began.

Been a rather nice Friday, actually. First, something pleasant about the site at walletpop.co.uk.  Thanks, author Sarah Coles – really appreciated!

Then, a reader tells me that she received a copy of the theatremonkey book as a gift. Working in a book shop she had seen it, and had wanted to treat herself to it, but never got around to it when she had the money and the shop had the stock… So, she wanted to share with me her delight at being given it in the end.

Finally, the theatremonkey office is used to getting the odd unusual publicity item in the post. Books and CDs help fill my shelves and, together with tickets, really help keep the site going by providing material and ideas. Today, though, I was sent a signed poster for the new David Essex show “All The Fun Of The Fair.” As publicity goes, that has to be one of the coolest ways of doing it that I’ve ever come across. Thanks to those involved, and good luck with the show.