New musical The Green Fairy is a bleak but bold experience at the Union Theatre, featuring the unmissable, almighty voice of Julie Atherton
“So how are you, aside from being an alcoholic”
The Green Fairy announces itself as “a queer pub musical” which sounds like a genre that should have existed for years already and certainly feels like one rich with potential. And in the hands of debut musical writers Jack Sain (book, music and lyrics) and Stephen Libby (lyrics) together with dramaturg Hannah Hauer-King, it proves intriguing, even if the final effect is considerably more Once than Old Compton Street.
Which is a good thing because this musical fully embraces its intimate actor-musician ensemble and in a still all-too-rare occurrence, focuses on the L (or perhaps the B) in LGBT+. It is open mic night at newly refurbished pub The Green Fairy and knowing her estranged daughter is going to be singing, Jo turns up to the place where she used to work and live and drink, and where the ghosts of her past – her girlfriend, her husband, her childhood best friend – still linger on. Continue reading “Review: The Green Fairy, Union Theatre”
Some cracking choreography and two barnstorming lead performances make Gentlemen Prefer Blondes a musical treat at the Union Theatre
“Do they discuss romance
Or is the subject high finance?”
A kiss on the hand may indeed be quite continental (see, Brexit really does get everywhere…!) but a classic musical that is just straight-up uncomplicated good fun is everyone’s best friend. Sasha Regan’s revival of Gentlemen Prefer Blondes fully embraces all its candyfloss campness but anchors it with the crucial decisions to forefront the easy musicality of Jule Styne’s fantastic score (ably assisted by MD Henry Brennan) and in casting its two female leads just right, to remind us that it isn’t actually as throwaway as all that in the end.
True, the book, by Anita Loos and Joseph Fields from her original novel, is mainly frothy fun as it follows Arkansas showgirl Lorelei Lee to Paris and back with any number of wealthy suitors in her wake. But by keeping her friend and ‘chaperone’ Dorothy high in the mix, a certain brand of female solidarity shines through. And with Abigayle Honeywill and Eleanor Lakin, the show proves riotous good fun. Tackling the role made famous on film by a certain Ms Monroe, Honeywill nails the offbeat humour and charming warmth of a budding superstar. And Lakin offers up some stunningly confident vocals as her charismatic confidante – one to watch out for, mark my words. Continue reading “Review: Gentlemen Prefer Blondes, Union Theatre”
Round and round and round we go. La Ronde surfaces again as Michael John LaChiusa’s Hello Again at the Union Theatre
“I’ve been searching high and low
For you but then
What does it matter?
It is a universal truth that you’re never too far away from some adaptation or another of Arthur Schnitzler’s La Ronde. It’s been gay, it’s been musical, it’s been gender-neutral, it’s been Hollywood, and now it is back to being musical again, with the Union Theatre’s revival of Michal John LaChiusa’s Hello Again.
LaChiusa’s adaptation sets each of its ten scenes in a different decade of the twentieth century, aiming for a broad investigation of how, if at all, love and sex have changed over the years. This also allows him to cherrypick from a much wider range of musical styles than if he’d stuck with the original’s 1890 Vienna. Continue reading “Review: Hello Again, Union Theatre”
As a dance musical, Can-Can! is a high-kicking delight at the Union Theatre
“My cheeks are clenched”
Courtesy of choreographer Adam Haigh, there is some seriously impressive dance going on at the Union Theatre right now. You might expect some good moves from a musical Can-Can! but the full company sequences that book-end the show are full of verve and vitality and some jaw-dropping moments, which are all the more impressive for taking place on a stage as intimate as this.
Phil Setren’s production wisely scatters more dance performances throughout the show, ensuring that we’re never too far from a routine, as the rest of the musical is something of a mixed affair. A grab-bag approach to its construction means it often feels scattered – based loosely on Pinero’s Trelawney of the Wells but moved to Paris, its populated with both real life figures from La Belle Époque and fictional characters. Continue reading “Review: Can-Can!, Union Theatre”
Brass the Musical at the Union Theatre is a powerfully moving celebration of sacrifices made, of service offered, of music itself – beautifully done
“Just until our lads come back”
There’s a neat symmetry to the life of Brass the Musical thus far. Originally commissioned by the National Youth Music Theatre to commemorate the centenary of the outbreak of the First World War, its professional London premiere now marks the Armistice Centenary. Benjamin Till’s musical, with additional lyrics from Nathan Taylor and Sir Arnold Wesker, thus serves as a powerful tribute to those who served, both at home and on the frontline.
What is particularly gorgeous about Brass is how it is suffused with the joy of music. Its power to bring people together (as in the characterful ‘Forming a Band’), its potential to lift spirits (the marvelous storytelling of ‘Whistle Billy’), its ability to express something deeper beyond just words (the haunting vocalese at the trenches). And as an expression of the musical theatre form, it works beautifully in deepening an already profoundly moving piece of history. Continue reading “Review: Brass the Musical, Union Theatre”
A striking new musical at the Union Theatre based on Elchin’s Citizens of Hell, Midnight is enthralling, entertaining and exciting
“If these walls could talk, well they’d probably just scream”
We all like to think that we would be part of the resistance if we were living under a repressive regime but the truth is, that kind of pressure is unimaginable unless that suffocating terror is a part of every waking moment, where life or death decisions mean exactly that. This is the milieu that Midnight exists in – Soviet Azerbaijan as 1937 draws to a close – where every knock on the door brings with it the threat of the secret police.
Based on Elchin’s play Citizens of Hell, Laurence Mark Wythe (music and lyrics) and Timothy Knapman’s (book and lyrics) musical adaptation is so very good at translating the eerie strangeness of this world and is a supremely confident new musical to boot. Essentially a three-handed psychological thriller, Kate Golledge’s production is superbly enhanced by the use of a ghostly actor-musician ensemble who complement and complicate the existence that our central couple have set up for themselves. Continue reading “Review: Midnight, Union Theatre”
A revue done right. Aria Entertainment’s It’s Only Life brings John Bucchino’s work to beautiful life at the Union Theatre
“There is a sidewalk in California
Where they put the stars right at your feet
And people delight in stepping on them…”
It’s trickier than you might think to make a revue really work. Putting together a programme of unconnected songs to showcase a composer’s work is one thing, but breathing genuine theatrical life into it is entirely another. Fortunately, the folks behind It’s Only Life, produced by Aria Entertainment at the Union Theatre, have done just that.
The US composer and lyricist John Bucchino is the man of the moment here, in a show conceived by himself and Daisy Prince. But it is tempting to consider director Tania Azevedo the real star, leading a superb company of cast and creatives to elevate what could be something quite slight, into a couple of hours of something really quite moving. Continue reading “Review: It’s Only Life, Union”
A much welcome revival for Sasha Regan’s all-male Iolanthe, bringing Gilbert and Sullivan to Richmond Theatre as part of a UK tour
“What’s the use of being half a fairy?”
Delving into deep into your wardrobe can get you into all sorts of bother. With CS Lewis, you could end up in the wintry woods of Narnia and with Sasha Regan, you might find yourself in the dress-up fantasy world of light operetta. Of all of her all-male Gilbert and Sullivan productions, Iolanthe is the one which I remember most fondly (its transfer to Wilton’s Music Hall perfectly done) so the news that it was the choice for this year’s revival for a UK tour left me tripping hither and thither in excitement.
And though I was a little apprehensive to revisit so beloved a production, this Iolanthe has stood up well. Mark Smith’s choreography with its suggestions of sign language for fairy speak, Stewart Charlesworth’s design making full use of the jumble box aesthetic, and Regan’s astute direction milking a show that’s more than a century old for all of its considerable comic potential and finding room for her own innovations as well. With MD Richard Baker controlling the music from his solo piano, this remains an arresting take on your G&S. Continue reading “Review: Iolanthe, Richmond Theatre”
New musical H.R.Haitch at the Union Theatre has a feel of knockabout fun which begs not to be taken too seriously
“We are hoping for a happy outcome”
As Kensington Palace gears up for one royal wedding, Iris Theatre are jumping down the aisle first with their musical take on stately nuptuals H.R.Haitch, now playing at the Union Theatre. And though it features a mixed-race woman (like Meghan) marrying a prince, such is the development time for musicals that is actually the fact that she is a ‘commoner’ (like Kate, apparently) that proves the inspiration here.
For aspiring canapé-chef Chelsea is Barking born and bred, and a strident anti-monarchist to boot. And she’s pretty excited about her suspicions that her nice-but-dim boyf Bertie is going to propose! Thing is, Bertie is actually Prince Albert – heir to the British throne and (for reasons I’m not sure we ever really understood) living incognito among the people. Will Queen Mary accept her? Can the older Princess Victoria thwart the line of succession? And what is it with politicians and pigs…? Continue reading “Review: H.R.Haitch, Union”
“Everyone knows it’s the start of the Third World War”
Written in 1977 about events in 1948, there can be a temptation to dismiss the campery and dated gender politics and racial stereotyping of Privates on Parade as outdated and offensive. An argument could be made – and it is one that I have made myself before – that such notions need to be interrogated and challenged by productions. But equally, when the writing is intelligently nuanced and the direction sensitively done, audiences can be left to do this for themselves.
And so it is – I find – with Peter Nichols’ play with songs, presented here by Kirk Jameson at the Union. Take the time to delve beneath the surface and you’ll soon see there’s incisive commentary about the insidious nature of colonialism, about the personal freedoms that can be explored when released from the social strictures of home, about the contemporary lack of opportunities for women, about how war is an equal opportunities offender when it comes to shattering happiness, whether gay or straight. Continue reading “Review: Privates on Parade, Union Theatre”