“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)”
“I like a man with spunk
‘You like a man period’”
As is often the way, a canny bit of recasting ensured my need to revisit a show I’d already seen and resolved not to revisit. In this case, it was The Pajama Game, which I caught last year in Chichester when Joanna Riding and Hadley Fraser led Richard Eyre’s productions to great acclaim, which now arrives for a summer at the Shaftesbury Theatre with Michael Xavier taking over from Fraser. I am most fond indeed of Xavier’s work, and as I enjoyed the show in all its strangely charming old-fashioned oddity, going back wasn’t too much of a trial.
My original review is here and there really isn’t much more to add. The show fits in well into the Shaftesbury, even if a little of its expansiveness feels lost in the reconfiguration, but Xavier makes a predictably excellent fit into the company, he really is one of our leading exponents of musical theatre, delivering the goods time after time. Jo Riding emerges unscathed from Stephen Ward to return to a role in which she is wonderfully comfortable to watch but the real star ends up being Alexis Owen-Hobbs’ spunky Gladys. Book soon whilst you still can.
Running time: 2 hours 45 minutes (with interval)
Booking until 13th September
“Just knock three times and whisper low, that you and I were sent by Joe”
Old Broadway classics seem to flourish in the rarefied air of West Sussex and it is hard to shake the feeling that Chichester has done it again with a revival of The Pajama Game. No stranger to big American musicals, director Richard Eyre demonstrates the surest of touches to keep the improbable subject matter – the trials of working life in a pyjama factory – anchored in a world that we always care about and is aided by the kind of score that feels recognisable even if you think you haven’t heard it before. Richard Adler and Jerry Ross’ score is full of fantastic old school tunes like Hey There (You with the Stars in your Eyes) and Steam Heat and two of the songs were actually written by Frank Loesser, although uncredited.
George Abbott and Richard Bissel’s book is based on Bissell’s novel 7½ cents set in the Cedar Rapids, Iowa Sleep-Tite factory in which new-to-town Superintendent Sid Sorokin finds himself falling head over heels for feisty union rep Babe Williams, whose stubborn initial resistance can’t ignore the mutually fiery passion between them. But trouble brews when the workers are denied a justified 7½ cent pay rise and Sid and Babe find themselves on opposing sides of a heated labour debate. Continue reading “Review: The Pajama Game, Minerva”
“Who could ask for anything more?!”
After a highly accomplished run at the Open Air Theatre, Crazy For You has transferred into the West End to take up residence in the Novello Theatre, taking advantage of the premature closing of Betty Blue Eyes. I saw it in Regents Park – review can be read here – and was easily seduced by its combination of Stephen Mears’ pulsating choreography and lively renditions of selections from the Gershwins’ considerable catalogue of songs. The show has been transplanted indoors pretty much in its entirety and continues to be a whole heap of uncomplicated entertainment.
I previously described the story as ‘pure hokum’ and little has changed in that respect but it really doesn’t matter in the end, because this really is a show that is all about the singing and dancing. It doesn’t so much reinvent this set of classic Gershwin songs, they are too well known for that, but it does present them in a fresh new setting which feels incredibly natural and well-fitted. Sometimes with jukebox shows there can be the feeling of songs being shoe-horned into the narrative but because this show wears its story quite lightly, that is rarely the case here. Instead, there’s a cheery skip through some of the best songs ever written that is guaranteed to lift the heart. Continue reading “Re-Review: Crazy For You, Novello”
“Dancing makes my troubles all seem tiny”
There’s no hiding the fact that the Open Air Theatre’s Crazy for You is pure hokum but for sheer escapist fun and a feel-good atmosphere that will whisk you away from the troubles outside of Regent’s Park for an evening, this will pretty much do the trick. Based on the George and Ira Gershwin musical Girl Crazy, Ken Ludwig – he of the recently departed Lend Me A Tenor – wrote a new book in 1992, heavy on post-modern knowingness and light on substance: silly but fun – if you come here looking for authenticity you’re bound to be disappointed!
Banker Bobby Child is forced to abandon his Broadway dreams and is dispatched to Deadrock, Nevada to foreclose on a theatre there. Sensing an opportunity as he falls head over heels with the daughter of the theatre’s owner, he decides to impersonate the Broadway impresario he longs to work for and arranges for a benefit show to be put on to save the theatre: madcap fun ensues with mistaken identities – clearly a Ludwig fave – at the fore. Continue reading “Review: Crazy for You, Open Air Theatre”
“We don’t dance. We defend ourselves to music”
Last night’s trip to Sweet Charity at the Theatre Royal Haymarket (with Aunty Jean, for my birthday treat!) actually marks the first time that I have seen a show that has transferred from a small venue into the West End in both of its incarnations. My original review can be read here about Charity Hope Valentine’s romantic misadventures and her continued search for her dream man in the face of constant setbacks and dastardly lotharios, and much of what I loved about it then holds true now as it is still as excellent a show.
Little has actually been changed about the production, everything is just a bit bigger really and the transitions a lot smoother, the only real difference was the fairground scene with Charity and Oscar and her vertigo where they make use of the more advanced facilities to sit on a suspended seat. Where the production does benefit from the transfer though is in the extra room for the choreography, Rich Man’s Frug and I’m A Brass Band in particular both luxuriate in the additional space offered by the Theatre Royal and Stephen Mears’ superb choreography has unfurled beautifully, maintaining the huge level of energy and vitality it pushes into the show. This is probably best exemplified in Hey, Big Spender, such a different number to the familiar Shirley Bassey version, the girls at the club sprawl over high stools, selling their wares half-heartedly with deliciously bored expressions, it is abundantly clear that this is no glamorous life and one can immediately see why Charity is so keen to escape. Continue reading “Review: Sweet Charity, Theatre Royal Haymarket”