“Don’t treat us girls like a poor relation
Made in Dagenham, in Dagenham – it seems like a no-brainer but it’s quite the statement of intent from incoming Artistic Director at the Queen’s Theatre Hornchurch, Douglas Rintoul. It’s also a bit of a departure for a director who has previously won awards for writing hard-hitting monologues about gay Iraqi refugees (the exceptionally good Elegy) but taking a West End musical that didn’t quite become the hit it deserves and taking it home, refining it into an actor-musician production along the way, turns out to be quite the treat.
I can’t deny that I loved the show when it played at the Adelphi – heck, I saw it four times (review #1, review #2, review #3, review #4 of the final night) and I believe it deserved better treatment from the critics. But the past is the past and coming to the show with fresh eyes, and ears, too Richard Bean’s book and David Arnold’s score, it responds powerfully to the new treatment here (co-produced by the Queen’s and the New Wolsey Ipswich where it heads next), smaller in scale obviously but more intimate too, rawer in its emotions to an ultimately devastating effect. Continue reading “Review: Made In Dagenham, Queen’s Theatre Hornchurch”
“Why don’t you get out of my life and let me make a new start?”
Cast and crew members across the West End may not agree but I do find it surprising that more shows haven’t gone for the variation of Sunday evening performances in their schedules. Particularly with tourists, it’s a ready-made and captive audience with little else to do in this bustling city and by the looks of the Palace Theatre last night, keen as mustard. That said, it can be something of a trial going out on a Sunday night when a work-filled Monday morning is looming around the corner.
For me though, the chance to see The Commitments one more time before it closes its doors after a run that has lasted more than two years was enough to tempt me out and I’m glad I did as it really is good fun. Technically speaking, it is less of a musical than I would strictly consider, the narrative quickly gives way to a mini-concert at the show’s end but with music as good as this, and an actor-musician cast as talented as this, such crowd-pleasing antics feel entirely forgivable. Continue reading “Re-review: The Commitments, Palace”
“Through the forest have I gone”
The impressive ruins of Stafford Castle make a grand setting for the Stafford Festival Shakespeare, now in its 23rd year, and for this year’s production of A Midsummer Night’s Dream, successfully transported to a Victorian England of colonial conquest, starched manners and a healthy dose of Gilbert and Sullivan. An open air stage, with covered seating on three sides, expands up the grassy slope to the castle itself and is used highly effectively, whether for a royal procession to make a strong impact or a torch-bearing fairy horde to swarm over the hillside, a constant reminder that so much of this story is about the strange happenings that will ensue if you end up in a mysterious forest on Midsummer eve.
Peter Rowe’s choice to set this in the Victorian era is an effective choice and one which works well across all the earthbound levels of the play. It makes a convincing case for the quarrelling quartet of lovers – Craig Fletcher (so very good in last year’s Boy Meets Boy) and Eamonn O’Dwyer all prim posturing and carefully rolled-up sleeves as Lysander and Demetrius, Jennifer Greenwood a spirited Hermia and a confident Georgina White coming close to stealing the show as an expressively comical Helena. And the Rude Mechanicals, led by Eric Potts’ bumptious Bottom, become a group of G&S-playing minstrels, the silliness of light opera suiting them perfectly as they build up to an extended musical version of Pyramus and Thisbe, which has to be one of the funnier treatments it has ever received. Continue reading “Review: A Midsummer Night’s Dream, Stafford Castle”