Rather fittingly, my first ever visit to the magnificent feat of civil engineering that is Cardiff’s Wales Millennium Centre was for new musicalTiger Bay (Y Sioe Gerdd). And not just any musical, one based in and on the very area where it is playing, the docklands of Tiger Bay at the turn of the century, when the industrial revolution sent shudders through every level of society. Socio-political unrest not being known for getting the crowds in though, book-writer Michael Williams has fashioned a multi-stranded narrative with truly epic ambitions.
So there’s coal men fighting to improve working conditions, African immigrant labour complicating the picture by undercutting them, racism emerging as an ugly thorn, child labour being abused, suffragettes agitating for the vote, and the richest man in the world (the Third Marquess of Bute) who has turned to crystal balls to try and find his missing son. What emerges is a prototype vision for a multicultural society in all its myriad complexities and inequalities, connected in an all-too-human way by circumstance and some stonking great choruses. Continue reading “Review: Tiger Bay, Wales Millennium Centre”
“Although we’re armed with many prickles They’re no match for large vehicles”
The Wind in the Willowstook quite the critical battering when it opened at the Palladium last month and whilst it may not be the greatest show in the world, it does feel to have been a rather harsh treatment (I quite liked it for what it was). I’m not entirely sure what critics thought they were going to get from this revival of Kenneth Grahame’s classic story but it was clearly a darn shot edgier than anything Julian Fellowes and composing duo Stiles and Drewe were ever going to create.
Listening to the Original London Cast Recording which has now been released, you very much get a sense of the gently bucolic charm that they were aiming for and which, by and large, they achieve. Their strengths lie in the grand musicality of the ensemble numbers that pepper the score at its key moments. The cumulative choral power of ‘Spring’, the irrepressible energy of ‘We’re Taking Over The Hall’, the thrill of the fun-loving finale – this what they do so well. Continue reading “Album Review: The Wind in the Willows (2017 Original London Cast Recording)”
Arriving at the London Palladium just in time for the summer holidays, new family musical The Wind in the Willows (seen on tour late last year) is a respectfully traditional treatment of the Kenneth Grahame classic with which so many are familiar. And with kings of musical theatre nostalgia Stiles & Drewe on composing duties, Rachel Kavanaugh’s production is clearly the kind of show that wants you to wistfully remember childhoods past.
Julian Fellowes’ book undulates gently rather than creating any particularly dramatic waves – Rat and Mole’s growing friendship is quietly but effectively done, Toad is characterised as a Boris Johnson-like would-be-lovable-rogue, and the biggest ripples of the first half come in the introduction of various creatures of the forest – like an Andrews Sisters-esque trio of sonorous swallows and an enormously cute family of hedgehogs. Continue reading “Review: The Wind in the Willows, London Palladium”
“The crowd of doubtin’ Thomases Was predictin’ that the summer’d never come”
The English National Opera have had great success with their move into semi-staged revivals of classic pieces of musical theatre. Bryn Terfel and Emma Thompson lit up the Coliseum withSweeney Todd in 2005, Glenn Close received an Olivier Award nomination for last year’s Sunset Boulevard, and so this year, we’re being treated to Richard Rodgers and Oscar Hammerstein II’s 1945 classic Carousel. I say treated…but with singers Alfie Boe and Katherine Jenkins cast as the show’s ill-fated lovers, this production is a bit of a challenge for musical theatre lovers.Read my three star review for Cheap Theatre Tickets here.
Running time: 2 hours 45 minutes (with interval) Booking until 13th May
Messrs Stiles, Drewe and Fellowes clearly have an affinity for working with each other as hot on the heels of Half A Sixpence, about to open in West End after a successful run in Chichester, comes another collaboration on a musical version ofThe Wind in the Willows. Destined for an as yet unconfirmed West End residency, it is currently touring from Plymouth to Salford and then on to Southampton, spreading its gentle, pastoral charms across the UK.
And its charms are gentle, befitting any iteration of the beloved children’s novel by Kenneth Grahame. Julian Fellowes’ adaptation is faithful to that story and though the scale of Rachel Kavanaugh’s production is suitably large, it is also refreshingly simple. Peter McKintosh’s design is atmospheric but uncomplicated, playful rather than epic in its idyllic evocation of the British countryside, ably assisted by Aletta Collins’ languid choreography. Continue reading “Review: The Wind in the Willows, Theatre Royal Plymouth”
“All along knowing that no-one has returned to care”
Barely managing six months in the West End in 2013/4, I think it’s fair to say the musical adaptation of From Here to Eternity underwhelmed. And though I was reasonably fair to it at the time, I can’t say that it has aged well, upon returning the live cast recording that was made before the final curtain fell, blame seeming to fall evenly between composer Stuart Brayson, lyricist Tim Rice and book writer Bill Oakes.
And with weaknesses on all sides like this, very much exposed in the medium of record, it’s not too hard to see why the show didn’t achieve anywhere near the levels of success it was aiming for. There’s so little sense of the main thrust of the story coming through, or indeed any of the strands put forward being sufficiently developed, to make you care about any of the relationships or the plight of the men. Continue reading “Album Review: From Here To Eternity (2014 Live Cast Recording)”
The less than salubrious surroundings of the North Florida trailer park Armadillo Acres (few armadillos and even fewer acres) might seem like the ideal location for a madcap musical and in some ways, you’d be right. And The Great American Trailer Park Musicalcertainly lives up to the madcap and the musical in this knowingly camp production by Kirk Jameson – it’s just the ‘great’ that feels somewhat in doubt.
There’s no questioning the quality of the production and its brilliant casting decisions. Tempting the likes of illustrious veteran Rosie Ashe to the fringe is no mean feat and the powerhouse pipes of the severely under-rated Sabrina Aloueche is all the more impressive in the intimate (if poorly raked) Waterloo East Theatre. In fact, the whole company sing very well, their assured vocals matched by James Taylor’s musical direction. Continue reading “Review: The Great American Trailer Park Musical, Waterloo East”
“Has there ever been a moment
With so much to live for?”
Dammit – one of the key rationales behind my Broadway blowout last winter was seeing actors I didn’t think I’d otherwise have the chance to see in the West End, Glenn Close being chief among them and thus I forked out a pretty penny to see her in Edward Albee’s A Delicate Balance. So naturally her return to these shores was announced a few months later with a reprisal of her Tony Award-winning performance as Norma Desmond in Andrew Lloyd Webber’sSunset Boulevard.
And as with last year’s Sweeney Todd here at the Coliseum too, director Lonny Price and the ENO have returned to the semi-staged format which allows them to mount a bare-bones production and still charge full whack for tickets, prices thus go up to £150. I understand that money has to be made, especially for an organisation in as perilous a position as theirs and they say at least 400 tickets at every performance is available at £25 or under (altitude training not provided though…) Continue reading “Review: Sunset Boulevard, London Coliseum”
The theatrical production of London Road was a major success for the National Theatre, the opening run first extending in the Cottesloe and then being rewarded with a later transfer to the much larger Olivier – I was first blownaway by its originality and then later comforted by its message in the aftermath of the 2011 riots. So the news that director Rufus Norris was making a film adaptation was received with apprehensive anticipation, could this strikingly experimental piece of theatre possibly work on screen.
Writer Alecky Blythe uses a technique whereby she records interviews with people which are then edited into a play but spoken verbatim by the actors, complete with all the ums and aahs and repetitions of natural speech. And in 2006, she went to Ipswich to interview a community rocked by a series of murders, of five women in total, all sex workers, and set about telling a story not of salacious deaths but of a community learning to cleave together in trying times. Oh, and it’s all set to the most innovative of musical scores by Adam Cork, elevating ordinary speech into something quite extraordinary.
The material has been considerably reshaped for the screen – Moira Buffini assisting as script consultant – resulting in a much more straight-forward narrative through-line than was seen on stage. This linear development is reflected in Danny Cohen’s cinematography which tracks the wintry gloom of the beginning into the verdant bloom of the climax with a real visual grace. Straightening out the storytelling reduces the theatricality of the presentation too, making this feel much more like a piece of documentary realism.
Where the stage show had a cast of eleven each playing a resident and multiple other roles, each character is played by someone different here, meaning the focus is teased out a little from the tight circle of the London Road residents and their outrage about their street turning into a red light district, to give a more fully realised sense of the wider community. They consequently get more of their own voice heard – the nervy teenagers suspecting everyone around them, the sex workers shaken up by the attacks on their own, the journalists tiptoeing around the sensitivity of the issue whilst always on the lookout for a scoop.
The experience of the residents does remain central to the film though, Blythe digging back into her archive of interviews to find ways of ensuring at least of them appears in every scene and Cork rejigging the score where necessary too. And this is where the writing is at its strongest, in always showing the complexity of the collective response. Though the story moves towards a happy(ish) ending with the London Road in Bloom street party as the culmination of their efforts, there’s no pretence that a solution to the inherent problems has been found, they’ve just been moved away from their doorstep.
This ambiguity comes across particularly well in characters like Olivia Colman’s Julie and Nick Holder’s Ron, barely apologetic in their unspeakable thoughts yet rooted in small-town authenticity. Paul Thornley’s inscrutable Dodge, Linzi Hateley’s pragmatic Helen and Clare Burt’s dithering Sue remain a delight, Anita Dobson is daffily wonderful as June, Michael Shaeffer and Rosalie Craig’s journalists both stand out and the original Julie, Kate Fleetwood, plays the new role of Vicky, a haunting figure representing the spirit and presence of the working girls, both alive and dead.
And delving a little deeper, clever little touches abound in the production. The two schoolgirls singing ‘It Could Be Him’ (see clip below) are the daughters of Burt (Eloise Laurence) and Hateley (Meg Hateley Suddaby); Blythe and Cork both get cameos as a newsreader and a pianist respectively; and the final street party mixes real residents of both the real London Road in Ipswich and the fictional one in Bexley in with an ensemble that folds in any number of faces that seasoned theatregoers might recognise.
Elements of choreography by Javier De Frutos are used sparingly but most effectively to sprinkle pathos or humour into sequences as required, David Shrubsole’s sharp musical direction keeps the singing (nearly all done live) on point, and Norris’ direction constantly takes on inventive new directions to expertly but sensitively reshape the material for this new medium. I can’t imagine what it would be like to come to this film without prior experience of the show (and I’d be fascinated to hear from you if that’s you) but as a fan, it is undoubtedly a beautiful extension to one of the most innovative musical theatre experiences of the last decade.
Full cast list
Julie – Olivia Colman
Sue – Clare Burt
Kelly McCormack – Rosalie Craig
June – Anita Dobson
Seb – James Doherty
Vicky – Kate Fleetwood
David Crabtree – Hal Fowler
Helen – Linzi Hateley
Tim – Paul Hilton
Ron – Nick Holder
Councillor Carole – Claire Moore
Simon Newton – Michael Shaeffer
Rosemary – Nicola Sloane
Dodge – Paul Thornley
Terry – Howard Ward
Gordon – Duncan Wisbey
Mark – Tom Hardy
Hayley – Rosie Hilal
Natalie – Amy Griffiths
Colette McBeth – Gillian Bevan
Jessica – Anna Hale
Schoolgirl 1 – Eloise Laurence
Schoolgirl 2 – Meg Hateley Suddaby
Kath – Angela Bain
Margaret – Jenny Galloway
Alan – Sean Kingsley
Imelda – Jayne McKenna
Jason – Richard Frame
BBC Newsreader – Alecky Blythe
Grahame Cooper – Mark Lockyer
Harry – Barry McCarthy
Shop Assistant – Abigail Rose
Evening Star Girl – Maggie Service
Radio Techy – Alexia Khadime
Radio DJ – Dean Nolan
Stephanie – Ruby Holder
Alec – Calvin Demba
Stella – Helena Lymbery
Wayne – Mark Sheals
Graeme – Morgan Walters
Ivy – Janet Henfrey
Steve Cameraman – Jonathan Glew
Chris Eakin – Jason Barnett
Policeman – Andrew Frame
Anglia Newsreader – Rae Baker
Abby Rose Bryant, Adam Dutton, Adam Vaughan, Alan Vicary, Alicia Woodhouse, Alistair Parker, Amanda Minihan, Ameer Choudrie, Andrew Spillett, Andy Couchman, Anita Booth, Annette Yeo, Audrey Ardington, Barnaby Griffin, Basienka Blakes, Bob Harms, Carl Patrick, Carly Blackburn, Carol Been, Cassandra Foster, Charlotte Broom, Chloe Bingham, Chris Akrill, Clare Humphrey, Clemmie Sveaas, Connor Dowling, Coral Messam, Corinna Powlesland, Cornelia Colman, Courtney Crawford, Cris Penfold, Cris Snelson, Cydney Uffindell-Phillips, Daisy Maywood, Daniella Bowen, David Birch, David Stroller, Debra Baker, Don Gallagher, Edward Baruwa, Elaine Kennedy, Eleanor Clark, Ella Vale, Ellis Rose Rother, Emily Bull, Emma Brunton, Eva Lamb, Faye Stoeser, Frank Stone, Gary Forbes, Graham Hoadly, Haruka Kuroda, Hayley Gallivan, Helen Colby, Hendrick January, Ian Conningham, Ilana Johnston, Ilse Johnston, Ira Mandela Siobhan, Jack Edwards, Jackie Marks, James Ballanger, Jess Ellen, John Brannoch, Johnathan Fee, Jon Ponting, Joshua Lacey, Judith Paris, Julie Armstrong, Karianne Andreassen, Kayleigh Clayton, Laura Cubitt, Leah Ellis, Leah Georges, Leanna Wiggington, Lee Nicholas Harris, Linda Lewcock, Louis Fonseca, Louise Lee, Lucinda Shaw, Luke Fetherston, Lynne Wilmot, Marc Antolin, Margarita Reeve, Melanie La Barrie, Michael Fox, Michelle Wen Lee, Miles Mlambo, Miroslav Zaruba, Morgan Crowley, Natalie Victoria Dungan, Nathan Amzi, Nathan Harmer, Nathan Rigg, Nicholas Marshall, Oliver Roll, Paul Blackwell, Paul Bullion, Paul Shea, Perry Moore, Pete Meads, Philip Howard, Rachel Ann Davies, Rajesh Kalhan, Rebecca Scarott, Rebecca Sutherland, Rebecca Thomas, Reuben Williams, Rob Smithson, Sarah Heyward, Sarah Stanley, Sidney Livingstone, Simon Fee, Simon Humphrey, Stephanie Natufe, Stephen Webb, Steve Carroll, Steve Elias, Stuart Angell, Susan Fay, Susan Lawson-Reynolds, Tim Coldron, Tom Lyle Severn, Tomos James, Tony Pankhurst, Tony Timberlake, William Rossiter, Yinka Williams, Zoe Uffindell
Additional Choral ADR Group
Bethan Nash, Callum McIntyre, Daisy Maywood, Edward MacArthur, George Ikediashi, Hannah Genesius, Patrick Tolan, Perry Moore, Steve Rostance, Toby Webster,