“Let’s get together and feel all right”
There’s much to enjoy in One Love: The Bob Marley Musical, not least the joyous celebration of some of the most enduringly famous music in the world. And writer and director Kwame Kwei-Armah does a decent job at balancing the populist demands of a jukebox musical with something more dramatically satisfying. The result has been a sell-out success for the Birmingham Rep and I only just managed to squeak this into the schedule before it closes at the weekend,
Using 20 or so of Marley’s songs, Kwei-Armah takes us through an eventful few years in the singer’s life as the success of his artistry launches him from an accomplished reggae musician to international icon, pushing his concerns from simply getting records out to matters of national diplomacy as he finds himself intertwined in Jamaican politics. He also has internal conflicts with his band and a turbulent personal life to deal with, as well as converting to Rastafarianism. Continue reading “Review: One Love: The Bob Marley Musical, Birmingham Rep”
“Life in the country is just so bloody boring”
Someone wiser than I pointed out that the only way you could do The Seagull at the Open Air Theatre was to be thoroughly iconoclastic, ruffling those Chekhovian feathers into something brasher, bolder and less contained. And there is no doubting that that is what Torben Betts’ new version and Matthew Dunster’s directorial vision have set out to do here, ramping up the comedic elements (of the first half at least) but sacrificing much of the counterbalancing tragedy that customarily gives the Russian writer’s work its depth.
There’s some good work here – Janie Dee’s skittish Arkadina is a delight as she vainly tries to cling onto a long-gone girliishness (though impressive barre work!), Lisa Diveney’s Kirsten Stewart-ish Masha is well-realised in all her agonised inaction, and Jon Bausor’s striking design tilts a giant mirror at 45 degrees to the floor to both open up and expose the world of the tortured souls in this country estate. But the prevailing mood is one of something close to glibness, as the frivolity of the updating comes up hard against the traditional period setting. Continue reading “Review: The Seagull, Open Air Theatre”