I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time taking a turn into the many Open Air Theatre productions he has been witness to. Highly recommended:
Photos: Tristram Kenton
“The questions raised at every turn show there’s always more to learn”
This production of Stiles + Drewe’s Just So, their musical adaptation and conflation of Rudyard Kipling’s Just So Stories was a well-received one at Chichester Festival Theatre, coming almost a decade after the show was originally written. Their historically family-friendly back catalogue has served them well over the years – and is bearing significant fruit now in their Trio of Trios, and some elements of this well-cast recording are just lovely.
The heartfelt simplicity of ‘Does The Moment Ever Come?’ is perfectly suited to Richard Dempsey’s sweetly earnest Elephant Child, Julie Atherton might never have sounded better (or more wonderfully northern) on the nervously apprehensive ‘Wait A Bit’ and John Barrowman’s Eldest Magician has the charisma to make his life lessons a little more holistic than hectoring. His singing on ‘Just So’ and ‘If’ wisely warm-hearted. Continue reading “Album Review: Just So (2006 Chichester Festival Theatre Cast)”
“The sage shall play the knave tonight,
The maid shall misbehave tonight”
Howard Goodall’s fruitful relationship with the National Youth Music Theatre has long been a mutually beneficial one and it was they who premiered The Kissing-Dance, his musical adaptation of Oliver Goldsmith’s She Stoops To Conquer back in 1998. What is truly remarkable is just who happened to be in that year-group – Sheridan Smith, Gina Beck, Simon Thomas, Alex Hassell, Michael Jibson…the list goes on. And 10 years on, they gathered once again to record Howard Goodall’s score.
The show received its professional premiere at the Jermyn Street Theatre in 2011 and in a neat twist, saw Gina Beck reprise the very same role of the headstrong Kate Hardcastle and Ian Virgo also return to the cast but graduating from scallywag Tony Lumpkin to impecunious but irresistible Charles Marlow. And having that familiarity with the score meant it was a delight to go back and delve into its melodic wonderment once again. It is recognisably Goodall to be sure but with a distinct pastoral bent to it which has a pleasingly differentiating effect. Continue reading “Album Review: The Kissing Dance or She Stoops To Conquer (2008 Cast)”
“Give me hope
Give me all your love”
Everything is better with Frances Barber in it, it’s kind of a mantra for life. The Union Theatre’s recent production of Closer to Heaven shifted its entire allocation of tickets before it had even started but I wonder if that would have been the case if people had had a sneak preview of it. Despite its hard-working cast, it didn’t quite hit all the bases that would have warranted a sell-out success from after press night but you can’t begrudge them for that, the producers clearly tapped into a desire to see the show revived.
Its original run at the Arts Theatre was not a runaway hit, being curtailed after lacklustre sales (blamed in part on 9/11 affecting tourism) but an original cast recording of the soundtrack, featuring studio versions of the songs, was released, helping the show to maintain and even build on its cult status. And listening to the album, you can see why people were keen for it to return. Shorn of most of Jonathan Harvey’s lumpen book, the focus falls squarely on the cracking score by Neil Tennant and Chris Lowe and the real depth of feeling that the cast bring to the material. Continue reading “Album Review: Closer to Heaven (Original Cast Recording)”
“In this world, I cannot be who I was”
Cecilia Carey’s set design for Sense of an Ending at Theatre503 is surely one of the best of the year so far – deceptively simple to behold but wonderfully inventive and empathetic to the story it houses. Multi-coloured panels in a false wall initially suggest the evocative beauty of stained glass but as the play progresses, they are sculpted by Joshua Pharo’s lighting into conduits into the past, compelling reminders of the present and suggestions of the future looming over the characters of Ken Urban’s Rwanda-set play.
All three time periods are important but it is the past that is most significant. It’s 1999 and two Hutu nuns stand accused of aiding and/or abetting a massacre in their church in the 1994 genocide that decimated this African country’s population. An American journalist, haunted by his own demons, arrives at the prison they’re being held at to throw attention on their case but in a nation where the healing process has scarcely begun, notions of truth and reconciliation are hard to come by as conflicting accounts cast doubt on their presumed innocence. Continue reading “Review: Sense of an Ending, Theatre503”
“I know we have a certain amount of dirty laundry in this family, but is it really necessary to keep on washing it so publicly?”
Robin Soans’ new play for the Bush Theatre takes a little time to get where it is going but by the time it arrives at its destination, it has gathered into something really rather moving. Perseverance Drive
opens in Barbados as the Gillards come together to bury their matriarch Grace. Pentecostal pastor Eli heads up a deeply religious family but not one that is close – one of his sons Joshua has been exiled for being gay, and Nathan and Zek who are both ministers as well have splintered into opposing factions of the church.
Their battles are endless – who will get to speak the eulogy, what will happen to their mother’s soul etc etc and though the gospel-inflected ambience created in Madani Younis’ production is powerful, this opening half is a little too static for its own good. Fortunately, after the interval the energy shifts subtly to become much more affecting. It is four years later and now it is Eli’s turn to die in the somewhat less tropical surroundings of a run-down Leytonstone flat but as he slowly shuffles closer to the end of his mortal coil, it is clear that little has really changed.
Continue reading “Review: Perseverance Drive, Bush Theatre”
“Better drowned than duffers”
Originally a big success for the Bristol Old Vic last Christmas, Swallows and Amazons was revived for this festive season and has just spent a month in the West End at the Vaudeville Theatre ahead of an extensive UK tour. Starting off here in Chichester, Arthur Ransome’s 1930 novel has been adapted by Helen Edmunson, sprinkled with songs from The Divine Comedy’s Neil Hannon and directed by Tom Morris, it emerges as a delightfully inventive and highly imaginative production.
It works so well because it captures a long-lost spirit of play so very genuinely. From beginning to end, the show exudes a joyous playful spirit that almost immediately makes us forget we’re watching adults pretending to be kids. As the four Walker children set off to set up camp on an uninhabited island near their holiday home, they are whisked into a thrilling adventure beyond their wildest imagination and we are there with them for every beautifully-realised step. Continue reading “Review: Swallows and Amazons, Chichester Festival Theatre”
“You will always be a vulgar slut”
The Beggar’s Opera written by John Gay in 1728 was the first example of the ballad opera, perhaps the forerunner to today’s jukebox musicals in folding in pre-existing tunes to a satirical narrative that poked fun at the ever-popular Italian operas that were all the rage. Gay set his play in amongst the lowlifes of society, our main protagonist Macheath is a highwayman and raging lothario and the slowly twisting plot follows his shenanigans as he gets married to Polly Peachum, despite having gotten Lucy Lockit pregnant, unaware that the parents of both are part of a corrupt justice system that would happily see him hang so that his reputed fortune would come to them. Lucy Bailey directs this production which takes place in the elegant Open Air Theatre in Regent’s Park.
The overall impact is somewhat underwhelming though, the score not really proving to be melodically distinct enough, nor the story witty or moving enough to really crackle with life. For 2 hours 40 minutes, there is very little to the plot and much of the running time is taken over by the 69 songs that are sung throughout the show. Though mostly sung well, these rarely progress the action but rather arrest the flow and as the vast majority of them fall neatly into the English folk ballad category, there’s a gnawing sense of repetition that sets in. And even when there is no singing, there’s little vibrancy or energy on stage, movement director Maxine Doyle of Punchdrunk has introduced a rather sluggish pace and Bailey’s direction does not draw out enough of the comedy from the productions or her performers. Continue reading “Review: The Beggar’s Opera, Open Air Theatre”
Ending this year’s run of shows at the Open Air Theatre in Regent’s Park is a revival of the Jerry Herman musical Hello, Dolly! It is a classic piece, and its presentation here is respectful of that and delivers a straight up rendition mercifully free of irony. Hello, Dolly! is not for people who claim that they don’t like musicals. It is old-school Broadway singing and dancing through and through and about as much fun on a stage as you could imagine: there is no place for cynicism here.
Admittedly, I did not see it in the heights of summer when one might expect a slightly better chance of sunshine, but one did start to question the methods of the Open Air Theatre on rainy days, as the stagehands were made to work extremely hard, wiping down the stage diligently four times in 45 minutes before the actual start of the show. One began to feel so sorry for them as it seemed every time they finished a new shower would begin. Fortunately, the sheer joy of the production meant that the conditions were soon forgotten.
Continue reading “Review: Hello, Dolly!, Open Air Theatre”