“Stop worrying where you’re going—move on”
Theatreland does like to make sure every anniversary gets marked somehow and so following on from the celebrations around Les Misérables’ 30th birthday earlier this month is a similar hoohah for Stephen Sondheim’s 85th year on this planet. As is de rigueur for these events, a gala concert has been put on for the occasion with the kind of rollcall you could only normally dream of and naturally, Hey, Old Friends! had the price tag to go along with it.
As with Les Mis (which donated to Save The Children’s Syria Children’s appeal), the show benefitted charitable purposes, specifically The Stephen Sondheim Society and telephone helpline service The Silver Line, harnessing the major fundraising potential of such events. That said, these tickets tend to be so expensive that there’s a nagging feeling that they’re serving a limited audience with few opportunities for regular theatregoers to be a part of them. Continue reading “Review: Hey, Old Friends, Theatre Royal Drury Lane”
“He stinks of drink and urine
And thinks he’s so alluring”
One might have hoped that a musical version of William Shakespeare’s The Merry Wives of Windsor by the RSC with a cast that includes Dame Judi Dench, Haydn Gwynne, Simon Callow and a Strallen (natch) would be an enjoyable thing to experience to but on listening to it, it’s clear there is abundant reason I was able to pick up the CD of the live recording for the princely sum of £1 in the RSC shop.
Paul Englishby’s score is an unholy mess of a pick’n’mix bag that someone else has chosen for you – its conflicting styles a dizzying confection that sprawls across the narrative rather than supporting it. Not knowing whether the next song is going to be a tango or a madrigal, take its cues from Big Band or Brecht, or recall Andrew Lloyd Webber or an East London music hall is a most bizarre experience and the cumulative effect is extremely wearying – I have to say it was a real struggle to listen to the whole album in one go. Continue reading “Album Review: Merry Wives the musical (2006 RSC Cast)”
An early birthday from my Aunty Jean saw me get to revisit those wonderfully swiveling seats at the Royal Albert Hall for the matinée of Follies in Concert, a semi-staged version of the Sondheim show directed by Craig Revel-Horwood for just two performances with an all-star cast, featuring none other than Diane Lockhart herself, Christine Baranski. Having never seen the show before, I have nothing to compare it too but after hearing the score played by the City of London Philharmonic Orchestra and conducted by the inimitable Gareth Valentine, I suspect I may never need to hear another version!
The set-up of a reunion concert for an old theatrical troupe as per James Goldman’s book works wonders for the show and especially this production. There seemed to be real joy and appreciation amongst the company as they watched their colleagues each take their turn to reprise their former glories – Anita Harris and Roy Hudd’s light-hearted skip through ‘Rain on the Roof’, Stefanie Powers’ glamorous swish through ‘Ah, Paris!’, Lorna Luft’s quirky take on ’Broadway Baby’, Betty Buckley raising the roof with a soaring ‘I’m Still Here’ – whether the onlookers were acting or not, seeing them give each turn hugs, kisses and standing ovations felt real. Continue reading “Review: Follies in Concert, Royal Albert Hall”
“Come, I’ll make you some lamb cutlets”
A friend recommended Red Enters The Eye to me mainly because the too-long-absent-from-our-stages Siân Brooke was in it but she also knew it would be just my cup of tea, and she was right. Jane Rogers’ 2011 radio drama follows the story of Brooke’s idealistic Julie, a volunteer heading to a women’s refuge in Nigeria to teach sewing classes. From nervous beginnings as the strict manager Fran – Penny Downie donning an Aussie accent – outlines all the rules and regulations, Julie soon makes a huge success of the classes, revelling in their popularity, the way the women respond to her work and the potential opportunities that open up as they realise the marketability of these new-found skills.
But her untempered enthusiasm fails to take into account the gravity of the situation in which these women have found themselves, so that they were forced to seek refuge. Rogers carefully threads in a necessarily weighty level of detail about the various threats that women face in this part of the world, explaining also how the volatile socio-religious situation has a huge part to play in Nigeria. But it is never heavy-handed and instead emerges as a sensitive and thoughtful piece of drama which I’d heartily recommend. Brooke is excellent as the breathlessly naïve volunteer, Downie grimly pragmatic as Fran and there’s also great work from Adjoa Andoh as her partner and Demi Oyediran as Sarah, one of the women in the refuge.
Written by Alistair McGowan, Three Pieces in the Shape of a Pear
also sees him taking on the lead role of French composer Eric Satie. Probably best known for his Gymnopedies, Satie was actually one more innovative than one might have given him credit for, pushing creative boundaries and challenging the establishment. But he was an eccentric figure with it and McGowan has focused on the three most pivotal people in his life and how they were able to see through his peculiarities and peccadilloes to the man within, even if only for a brief while.
It’s an engaging, if somewhat slight, piece of writing, but one which is full of genuine affection and respect for its subject. From the seemingly ridiculous quirks – at one point, he will only eat purely white food – comes the beginnings of an artistic movement, from hopeless infatuation with a singer comes a fruitful creative partnership. McGowan bubbles gently as the composer and swirling around him Nathaniel Parker’s friendly rival Debussy, Imogen Stubbs’ Suzanne and Charlotte Page’s Paulette are all charming as the significant trio.
And last up was Rachel Joyce’s Feather
, recommended to me as Claire Price formed part of the voice cast. A delicately beautiful tale narrated by Maisie Cowell’s Fern, it’s an acutely observed child’s-eye view of the separation of a couple and the tug of war that ensures over their daughter. It’s a disarmingly effective technique of probing human behaviour as each parent starts to bring a new partner into their life whilst sussing out what is going on with their ex, all the while Fern finds herself in the middle, collecting enough feathers so that she can make the biggest wish in her life.
She believes in magic you see, and that feathers can grant you wishes, but Joyce’s drama is rooted entirely in the messiness of real life, the pain of broken homes and broken relationships and the difficulties in starting over again. It’s beautifully acted by Cowell, heart-breakingly so at times, and Claire Price and Jot Davies as the warring exes, trying not to manipulate their daughter ‘too’ much are both strong, along with Shaun Dooley as the kindly Finn, who offers hope to both mother and child.
“Gold attracts the most ingenious criminals”
I’ve now figured out the best way for me to listen to plays on the radio, which is whilst recovering from a hangover in bed, and not doing anything else. So it was thus that I took in this all-star production of the James Bond story Goldfinger, Ian Fleming’s 1959 novel having been dramatised by Archie Scottney, and Ian McKellen recruited to take on the iconic villain against Toby Stephens’ secret agent. But I have to say, it was my least favourite of the radio plays that I have taken in recently, partly due to the terribly dated writing but also due to the way in which it was presented, being partly narrated by Martin Jarvis (also the director) as Fleming.
The narration made it seem really rather old-fashioned, a very traditional way of telling a story and that is how it came across, as a story rather than a play, a piece of drama. It felt rather flat and lacked excitement, despite the quality of the cast, but I think it also suffered a bit by comparison. No sound effect could ever replicate the visual of Oddjob’s deadly bowler hat (yet simultaneously, without that visual it would barely have any impact, a whooshing sound alone inspires little), likewise John Standing’s M’s gagdetry, and the constantly changing locations, within a short space of time, do not really lend themselves to effective drama – explanations needed too often. Continue reading “Review: Goldfinger, Radio 4”
“The most I’ve had is just a talent to amuse”
Sincerely Noël is a show both devised by and starring Alistair McGowan showcasing a wide range of Noël Coward’s works, both spoken and sung, with assistance from Charlotte Page. It is an extended version of the Cocktails with Coward show that McGowan and Page took to Edinburgh last year and which played a short run here at the Riverside Studios at Easter. Mixing together songs, bon mots a scene from one of his best-known plays and verse poems, some well known, some obscurities and even some which they believe are being performed publicly for the first time.
After a slightly self-indulgent introduction featuring several of the impersonations for which McGowan is well known, we move swiftly into the flow of the evening with the pair splitting lines of dialogue and songs between them as well as each working solo. Ably accompanied by George Dyer on the piano, they whirl through these insights into the lives of both everyday people and the upper classes with many tales of the endless capacity of love to confuse, wound, amuse and capture hearts and minds alike.
What comes across is the breadth of his writing but also how timeless much of it is. One often thinks of Coward as being so firmly rooted in his own time but the marital fears of Honeymoon 1905 could have been written today, listening to 1901, the account of the death and funeral of Queen Victoria, one is struck by the comparison to Princess Diana’s death and the epic poem Not Yet The Dodo with its well-to-do parents struggling to accept their beloved son’s homosexuality shows that no matter how far we think we’ve come as a society, there is always more progress to be made.
Page really comes into her own in the second act, with beautiful deliveries of songs like Mad About The Boy and If Love Were All but also showcases a wide range of accents (wider than McGowan even) amusing particularly whilst on the therapist’s couch. McGowan also impresses at wielding the sharp witticisms and playing the repressed Englishness of so many of these characters. And together they suggest the world of pain, hurt and emotion behind the infamous stiff upper lip.
Sincerely Noël makes for an enjoyable, if a little slight, experience. In showcasing Coward as one of our finest writers though, it does an excellent job, revisiting old favourites with both a new eye, like a witty Teutonic take on Mad Dogs and Englishmen which breathes a wonderful new life into the well-known classic and the familiar, like the beautifully played balcony scene from Private Lives.
Running time: 1 hour 50 minutes (with interval)
Programme cost: £1
Booking until 23rd December
Starting off at the Menier Chocolate Factory and transferring to the West End at the Duke of York’s, Little Shop of Horrors now has its third home in London at the Ambassadors and I have finally gotten round to seeing it. And boy am I glad that I did.
It is a very sweetly composed story, straddling that not-so-well-trodden boundary between sci-fi and romance. Seymour, a down-on-his-luck orphan just scraping by in grim urban Skid Row, finds a special plant which happens to appear during a solar eclipse and suddenly everything in his life starts to improve. The flower shop where he works becomes more successful, he sees a way to rescue the girl he loves from afar from a violent relationship, but as always, there’s a downside to all of this and in this case, it is that the plant is a living, carnivorous one with a particular yen for human blood. Continue reading “Review: Little Shop of Horrors, Ambassadors”