Running time: 2 hours 20 minutes (without interval)
Booking until 3rd January, best availability from 6th November
Follies will be broadcast by NT Live to cinemas in the UK and internationally on Thursday 16 November.
An utterly majestic production of Sondheim’s Follies is a masterpiece for the National Theatre
“All things beautiful must die”
Well this is what we have a National Theatre for. For Vicki Mortimer’s set design that both stretches towards the heights of the Olivier and lingers some 30 years back in the past; for the extraordinary detail and feathered delights of the costumes; for the lush sound of an orchestra of 21 under Nigel Lilley’s musical direction; for a production that revels in the exuberance and experience of its cast of 37. And all for what? For a musical that, despite its iconic status in the theatre bubble, is more than likely to raise a ‘huh?’ from the general public (at least from the sampling in my office!).
Stephen Sondheim (music and lyrics) and James Goldman’s (book) Follies is a show that has a long history of being tinkered with and more often than not, is as likely to be found in a concert presentation (as in its last London appearance at the Royal Albert Hall) as it is fully staged. Which only makes Dominic Cooke’s production here all the more attractive, not just for aficionados but for the casual theatregoer too. Using the original book with just a smattering of small changes, this is musical theatre close to its most luxurious, and a bittersweetly life-affirming thrill to watch. Continue reading “Review: Follies, National Theatre”
“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 with Sweeney 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
“That’s what you get for all your trouble”
On the face of it, you could see why reviving Promises Promises would be an appealing prospect – written by Neil Simon from a Billy Wilder film and featuring a score by Burt Bacharach and Hal David. But digging even just a little deeper – a running time of nearly 3 hours and an antiquated set of gender politics made it a tough one to watch, and an even tougher one to excuse in today’s society.
If you were so inclined, you could argue that Billy Wilder and I.A.L Diamond’s original screenplay for the 1960 film The Apartment is “a triumph of 1960s sexual work-place politics” but quite what that has to say to audiences today is very unclear, (apart from gentlemen d’un certain âge craving the good old days natch). I have liked much of director Bronagh Lagan’s previous work but I can’t help pondering the choice here. Continue reading “Review: Promises Promises, Southwark Playhouse”
“We drink water from a dipper,
You drink champagne from a slipper”
Christmastime is often one for traditions and one of the better theatrical ones has proven to be the big musicals that Sheffield Theatres produce. From Me and My Girl to My Fair Lady to a never-better Company and last year’s Anything Goes that went on to tour, the outgoing Artistic Director Daniel Evans has proved a master at big-hearted, large-scale productions that skimp on nothing to create some of the best musical theatre the country has to offer.
This year sees Jerome Kern and Oscar Hammerstein’s Show Boat as Evans’ final show (as AD at least) and it is an undoubted success, a fitting festive farewell. It’s a brave choice too, an unwieldy beast of a story based on Edna Ferber’s novel about the backstage drama onboard the Mississippi show boat Cotton Blossom, using the performing troupe as a prism through which to view several decades of momentous change in the USA from the late 1800s. Continue reading “Review: Show Boat, Crucible”
why nobody will oppose”
Sheffield Theatre’s production of Anything Goes is launching on a simply mammoth tour of the UK – over 30 venues in 10 months – so it’s a pretty good job that it’s a largely excellent production. It’s rather amusing to note the number of reviews that mention that this classic show is over 80 years old yet still point out that the much revised book isn’t anything special at all but merely a framework on which to hang some of the most glorious songs of Cole Porter’s career. Given the average age of the audience, this will not come as a surprise to anyone, but there’s much here in Daniel Evans’ production to commend it to the young’uns too.
Alistair David’s choreography is a real delight, a constant breath of fresh air on which the show floats giddily, whether it’s the leads fooling about as if they’re Fred Astaire, sailors mooning over bathing beauties, or the whole company possessed with a spiritual glee. The eye is of course drawn to the stunning Act 1 finale set to the title track (which will always belong to Kate Capshaw’s bizarrely translated version in Indiana Jones and the Temple of Doom, my first experience thereof) which is a jaw-dropping, shoe-shuffling, tap-dancing dream, cleverly referencing classic moves but also firmly establishing its own identity by keeping Debbie Kurup’s sensational Reno Sweeney front and centre. Continue reading “Review: Anything Goes, New Wimbledon Theatre”
“It’s a no, it’s a yes, it’s a no from me”
One of the most profitable television franchises in the UK, a much-loved comedian writing the book, a £6 million budget…there’s clearly considerable heft behind the latest musical to establish itself in the London Palladium. But the marriage of Harry Hill’s bizarre comic sensibility, Steve Brown’s bright if hollow score and the ITV juggernaut that is the X-Factor makes for uneasy bedfellows, Sean Foley’s garish production eschewing any kind of subtlety for the broadest kind of populist swoop.
I Can’t Sing is a show that constantly wants to have its cake and eat it. Faux-Dermot presenter Liam O’Deary gets a laugh by exasperating at one point “I don’t know why you might be charged” when the phone lines have closed, presumably the response “because they continue to make money for the production company” was mixed in previews. The TV show’s heavy reliance on tear-jerking backstories is a running gag yet nothing dispels the myth that that is the way to get noticed on a talent show. Likewise the qualifications of the panel to be judges of a popular music contest are skewered yet they remain feted as a special brand of celebrity. Continue reading “Review: I Can’t Sing, Palladium”