I turn my attention to the latest set of Broadway cast recordings with Frozen, Prince of Broadway and Mean Girls
My cynicism about the quick turnaround of megahit film Frozeninto a would-be megahit musical lasted for about 10 seconds as I popped on their cast recording. I mean, I loved the film and its songs by Robert Lopez and Kristen Anderson-Lopez and so who was I kidding?!
And it fulfils all of my Disney princess dreams. Caissie Levy (Elsa) and Patti Murin (Anna) lead the cast in fine full-voiced form, new songs from the Lopezes fit in well to the score though it does take a hot minute to get used to them. And the orchestral arrangement lends a note of excitement to the songs you know so well already.
Levy’s ‘Let It Go’ naturally takes the spotlight as the Act 1 closer (reprised to close the show as well) but Murin’s rendition of ‘Love Is An Open Door’ with John Riddle’s Hans gets my vote for its sheer warmth and joie de vivre. Of the new songs, Elsa’s ‘Dangerous to Dream’ probably ranks as my favourite. Definitely keen to see this once it hits the West End. Continue reading “Album reviews: Frozen / Prince of Broadway / Mean Girls”
A brilliantly inventive, inclusive and entertaining take on A Midsummer Night’s Dream is a great success at the Watermill Theatre
“Shall we their fond pageant see?”
In a week when Shakespearean-inclined eyes are trained on the opening of Michelle Terry’s tenure at the Globe with a season that promises to be “gender blind, race blind and disability blind”, it is gratifying to see other theatres in the UK already delivering this. And unsurprisingly, this kind of approach is full of rich potential to shake up your Shakespeare anew, making the Watermill’s A Midsummer Night’s Dream an unalloyed pleasure.
Paul Hart’s production is full of innovative touches which work separately like a treat and also combine into something really special. It wears its actor musicianship lightly as music is used brilliantly to delineate the otherworldliness of the woods. If ‘I Put A Spell On You’ might seem overly literal for the dosing of love-in-idleness but lyrically it proves a remarkable fit the love/hate relationship of this Titania and Oberon, so too of Puck’s frustration at that latter father-figure. Continue reading “Review: A Midsummer Night’s Dream, Watermill”
There’s always a new or different way to do things, no matter how ¯\_(ツ)_/¯ London-based commentators get, and so the news of Europe’s first ever pop-up Shakespearean Theatre – SHAKESPEARE’S ROSE THEATRE – feels like a good thing to me. Taking up residence in York this summer, the Rose looks set to replicate something of the Globe experience, groundlings and all, for a whole new audience.
The 10-week season will consist of four plays, performed in repertory by two companies of actors
A tragedy – Macbeth
A comedy – A Midsummer Night’s Dream
A tragic love story – Romeo and Juliet
A history – Richard III
Romeo and Juliet and Richard III will be directed by the award-winning Lindsay Posner, while York Theatre Royal’s Olivier Award-winning Artistic Director Damian Cruden will direct Macbeth, and Associate Director Juliet Forster will be putting her stamp on A Midsummer Night’s Dream.
And particularly pleasing to see is that even in this setting which might be perceived as traditional as it gets, there’s a playfulness to the approach to the plays (from Cruden and Forster at least). Antony Bunsee and Amanda Ryan play Theseus and Hippolyta but in a bit of a switch, will also play Titania and Oberon respectively. There’s a female Puck too, plus Amy Lennox as Hermia which leaves me in no doubt as to which of these will be my priority to see! Continue reading “News: Cast and creative team announced for Shakespeare’s Rose Theatre in York”
This is not a review of The Assassination of Katie Hopkins at Theatr Clwyd because the performance I was booked in for was cancelled. This may or may not be connected to the fact that I’ve inadvertently been referring to it as The Assassination of Katie Holmes for the past couple of weeks.
As unlikely a Proclaimers musical may seem, this gorgeous production of Sunshine on Leith at West Yorkshire Playhouse is probably the best thing I’ve seen this year
“Your beauty and kindness Made tears clear my blindness”
Is a jukebox musical still a jukebox musical when you don’t know most of the songs? You feel that most people would be hard pressed to name more than two songs by The Proclaimers and so it is part of the genius of Stephen Greenhorn (writer) and James Brining (commissioner and director) that they managed to fashion something so perfect, that somehow still feels so familiar, from the back catalogue of the Edinburgh brothers.
Emma Williams reconfirms her star status in this 80s musical adaptation of An Officer and a Gentleman at Leicester’s Curve Theatre ahead of a UK tour
“Way to go, Paula! Way to go!”
From its opening number (which provides an unsettling reminder that Status Quo actually had a decent tune or two), this major new musical of An Officer and a Gentleman shimmers with a sense of real quality. Some might demur at the notion of a movie remake peppered with a random assortment of pop songs from the 1980s but the resulting piece of theatre is highly enjoyable.
This is down to the integrity and craft of Nikolai Foster who rightly takes this source material (book by Douglas Day Stewart and Sharleen Cooper Cohen from his original screenplay) seriously. We may be in 1982 but there’s no jokey visual gags about that decade here, just an over-riding sense of life on the edge for the working class community of Pensacola, Florida, looking on at the US Naval Aviation Training Facility that dominates their city. Continue reading “Review: An Officer and a Gentleman, Curve”
Nominees have been announced for the 2017 Ian Charleson Awards:
Ellie Bamber for Hilde in The Lady from the Sea, Donmar Warehouse Daniel Ezra for Sebastian in Twelfth Night, National Theatre Tamara Lawrance for Viola in Twelfth Night, National Theatre Rebecca Lee for Friar Laurence in Romeo and Juliet, Watermill, Newbury James Corrigan for Mark Antony in Julius Caesar, Shakespeare Royal Shakespeare Company Ned Derrington for Lysander in A Midsummer Night’s Dream, Shakespeare’s Globe Sope Dirisu for Coriolanus in Coriolanus, Royal Shakespeare Company Arthur Hughes for Lucius in Julius Caesar, Crucible, Sheffield Douggie McMeekin for Snug in A Midsummer Night’s Dream, Young Vic Natalie Simpson for Duchess Rosaura in The Cardinal, Southwark Playhouse Hannah Morrish for Lavinia in Titus Andronicus, Royal Shakespeare Company
The focus of the award is on roles in classical theatre – yours Ibsens, your Chehkovs, your overwhelming number of Shakespeares – but you do wonder whether there’s something about the kudos automatically granted here. Though there is diversity in the names selected here, the very notion of ‘classical’ as determined by the theatrical establishment seems to work against its actual ecology, at least as it relates to modern Britain.
I mean to not at all dishonour the legacy of Ian Charleson, but I do wonder whether the awards that bear his name recognise the bias that its limitations impose. If the Quentin Letts farrago shows us anything, it shows us how entrenched some of these attitudes are. But it also serves as a reminder that actors of colour (and women to some of the same extent) are ill-served by the ‘canon’.
I’m all for celebrating and highlighting the work of great young actors but I want all of them to be included. And yes, that makes the scope considerably wider but surely its time to acknowledge that there’re amazing actors who have never performed Shakespeare, and might never do Chekhov, but who are more than worthy of the kind of recognition offered here.
Nowt so queer as gays up north – All I See Is You is an affecting period LGBT romance at the Octagon Theatre in Bolton
“If I never walk again, I don’t care”
The Octagon are certainly getting their money’s worth out of Ben Occhipinti. In the main house, he’s directing East is East and down the stairs in their studio theatre, he is also helming the premiere of Kathrine Smith’s All I See Is You. And where the former is looking at mixed race families in Salford in the 70s, this play turns its focus on to the experience of gay men in the 60s.
Those men are Ciarán Griffiths’ Bobby and Christian Edwards’ Ralph, whose meet-cute takes place in a toilet cubicle and soon turns into a smouldering mix of sexual compatibility and serious potential as they tumble hard for each other. But in a world where homosexuality has yet to be decriminalised, where societal prejudice is so deeply ingrained, it’s clear this is a love that will have to be fought for. Continue reading “Review: All I See Is You, Octagon Studio”
A brilliant turn from Jane Hazlegrove anchors this powerful revival of East is East at the Octagon Theatre in Bolton
“Funeral’s on Friday, they’re having salmon…”
On the one hand, it is great to see another production of Ayub Khan Din’s evergreen East is East, as sharply observed and comically astute as ever in this production at Bolton’s Octagon Theatre. But on the other, it is a sad indictment that the British theatrical establishment hasn’t been able to conjure up a similarly successful play that looks at race and multiculturalism in the 20-odd years since it was written.
Nevertheless, director Ben Occhipinti gets his revival just right, capturing much of the mood of a 1970s Salford where Pakistani father George and English mother Ella are raising their seven children who are all dealing differently with the unique pressures that come with a mixed race heritage. And he has cast it beautifully – Kulvinder Ghir’s George full of irascible pride, Jane Hazlegrove’s Ella brilliantly, expertly moving in her (almost) infinite patience. Continue reading “Review: East is East, Octagon”