Shakespeare via Fleetwood Mac, Patti Smith and Judy Collins? All’s Well That Ends Well works well at the Jermyn Street Theatre
“The web of our life is of a mingled yarn, good and ill together”
Finally managed to get to the Jermyn Street Theatre to see All’s Well That Ends Well, a co-production with Guildford Shakespeare Company, after director Tom Littler spoke so passionately about it to me. And I’m glad I did too, as it is a rather wonderfully inventive and musical interpretation of the play that makes it sing in a new way, albeit with a careworn air of Joni Mitchell.
Pushed into a (near-)contemporary setting and presented almost as a memory play by Hannah Morrish’s Helena, handing out keepsakes as props. The plot isn’t one of Shakespeare’s strongest, as Helena tries to inveigle her way into the affections of the higher-born Count Bertram, but suggesting it as a recollection of the folly of (younger) love, I bought this take on it. Continue reading “Review: All’s Well That Ends Well, Jermyn Street Theatre”
My White Best Friend (and even more letters left unsaid) sees the Bunker Theatre start the process of going out in a blaze of glory
“It’s all we can do to listen”
There’s a couple of months before the Bunker Theatre closes its doors but it does seem a rather wonderful f*** you to bring back their inordinately successful mini-festival and sell out every night before the run even started. Developers may gain from taking over this space but as evidenced here in this kind of forward-thinking, thought-provoking production, London’s theatre ecology stands to lose a lot.
Co-curated by Rachel De-Lahay and Milli Bhatia (who also directs), My White Best Friend (and even more letters left unsaid) is a raucous piece of gig theatre, centred on a provocation to a range of cracking writers to write letters “that say the unsaid to the people that matter most”. Those letters are then read to a standing audience, sight unseen by different actors every night. And there’s a DJ-led afterparty too, even on a Monday night! Continue reading “Review: My White Best Friend, Bunker Theatre”
Crikey, how I loved Heather Headley’s Broadway My Way, one of the best showtunes albums of recent years
“I know that everything I need is in here”
I was unreasonably peeved at Heather Headley for a little while, taking her casting in the West End debut of The Bodyguard as a slight on UK talent, for which I was rewarded her not appearing when I saw the show! But on seeing this clip of her smashing ‘Memory’ out of the park, I realised I’d played myself in not trying to see the show again to witness her talent live.
The next best thing is her 2018 album Broadway My Way, which I’ve belatedly got round to listening to. And once again more fool me, as it is probably one of the best musical theatre albums I’ve had the privilege of hearing. A collection of songs both old and new, it is an absolute masterclass in reinterpreting material to make it so closely fit a voice as to suggest it was written just for it. Continue reading “Album Review: Heather Headley – Broadway My Way”
The winners of the 2019 London Evening Standard Theatre Awards have been announced, with Dame Maggie Smith, Sir Ian McKellen, Robert Icke and Andrew Scott among the recipients.
BEST ACTOR in partnership with Ambassador Theatre Group
K. Todd Freeman Downstate, National Theatre (Dorfman)
Francis Guinan Downstate, National Theatre (Dorfman)
Tom Hiddleston Betrayal, Harold Pinter Theatre
Wendell Pierce Death of a Salesman, Young Vic & Piccadilly
WINNER – Andrew Scott Present Laughter, Old Vic
NATASHA RICHARDSON AWARD FOR BEST ACTRESS in partnership with Christian Louboutin
Hayley Atwell Rosmersholm, Duke of York’s
Cecilia Noble Downstate, National Theatre (Dorfman) & Faith, Hope and Charity, National Theatre (Dorfman)
WINNER – Dame Maggie Smith A German Life, Bridge
Juliet Stevenson The Doctor, Almeida
Anjana Vasan A Doll’s House, Lyric Hammersmith Continue reading “Winners of the 2019 London Evening Standard Theatre Awards”
How could you not love someone who would rather have an interval pint than an ice-cream?! Out of the Forest Theatre’s Sasha Wilson gets her 10 questions on
In the space of just a handful of shows, Out of the Forest Theatre have completely won my heart, their music-infused ensemble-based approach proving utterly compelling whether exploring Lizzie Borden’s legacy in Bury the Hatchet or ripping Arthur Miller (and many others) a new one in Call Me Fury. So I was delighted that their Artistic Director Sasha Wilson, cape-wearer extraordinaire, agreed to answer 10 questions for me.
Luke Evans’ debut album At Last is full of emphatic pop covers and his powerful voice at full stretch, not always a winning combination
“No one can tell us we’re wrong”
Luke Evans’ debut album At Last is a collection of mainly pop covers that range across the ages, with a focus on songs best known for being sung by female artists. As a budding actor, Evans starred in musicals such as Avenue Q and Piaf but upon establishing himself as a Hollywood movie star, has somewhat turned his back on the world of musical theatre (to the point where many were surprised at the revelation he could sing in the remake of Beauty and the Beast). But we remember…and he can really sing.
Album opener ‘Love Is a Battlefield’ is drenched in orchestral and choral bombast which does eventually wear you down with its forceful determination. But Evans’ tendency to open out his voice to a powerful belt means that his interpretative skills as a singer tend to get left by the wayside, reduced to the opening and closing 30 seconds once the booster button has been released. As such, his version of Ewan McColl’s ‘First Time Ever I Saw Your Face’ opens, and closes, with a beautiful subtlety that is missed in much of the middle. Continue reading “Album Review: Luke Evans – At Last”
The only interview (so far) to feature the phrase ‘horse race sex scene’, have a read of Ross McGregor’s 10 questions for 10 years
Frankenstein to The White Rose to Taro to The Strange Case of Jekyll and Hyde. Trying to pick my favourite Arrows & Traps show is like picking your favourite child (always the middle one!) and naturally in choosing Anna Karenina with its waltzing romanticism, I went wrong 😉 In any case, I enjoyed getting to know their artistic director Ross McGregor a little better here.
“Your favourite?! Well, thank you very much. The one I didn’t write, haha. My favourite memory is the look on my movement director’s face (Will Pinchin) when I told him I needed him to choreograph a horse race at a derby, that was simultaneously a sex scene. And watching him slowly make a note that read: “horse race sex scene”, and underline it, and not ask me why. In my defence, it was in the script. And thanks to Will’s enormous talent, and the cast’s incredible efforts, the scene was an absolute highlight of the piece, and I was very proud of the team when they showed it to me.”
Where were you 10 years ago?
I was in Norwich, working for a different theatre company that specialised in regional touring. We did classics and more than our fair share of seat-filler fodder (Godber, Coward, Aykbourn, etc.). Looking back at that time is strange as we were touring nationally but didn’t really have much of a sense of planning or patience. We definitely tried to run before we could walk, which is why the theatre company ultimately failed to flourish. It seemed an easier time, but I guess everything does when you’re in your twenties. I remember the Norfolk winds though, eeesh that place is cold.
Continue reading “10 questions for 10 years – Ross McGregor”
Late 90s pop is always my jam so a musical that features it is always going to be a winner. The brilliant & Juliet is so much more besides as well though, don’t miss it at the Shaftesbury Theatre.
“You hear my voice, your hear that sound
Like thunder, gonna shake the ground”
What if Juliet didn’t die? And what if the writer and producer of some of the most iconic pop music of the last two decades (think Britney, Backstreet Boys, Céline, Katy Perry, Robyn, Kelly Clarkson, P!nk just to name a few) decided to lend his back catalogue of songs to a new musical dedicated to her? The result is & Juliet, a slice of energetic and hugely entertaining musical theatre that explodes with joy at the Shaftesbury Theatre.
David West Read’s smartly self-aware book employs a metatheatrical twist as we open with William Shakespeare and Anne Hathaway having a barney about the ending to his latest play Romeo and Juliet and she persuades him to give her a bash at writing a new one with him. Thus we pick up in Verona where Juliet reclaims ‘…Baby One More Time’ from Darius and declares her intention to flee to Paris with her best gal pals and flirt with some foreign guys. But as William and Anne tinker with their plotting, the fractures in their own relationship come to the fore, causing some major new plot twists. Continue reading “Review: & Juliet, Shaftesbury Theatre”