42nd Street is signing off at the Theatre Royal Drury Lane in quite some style as a perfectly-cast Bonnie Langford joins the company
“Musical comedy – the most glorious words in the English language”
I liked 42nd Street when I saw it last year but I can’t say that I truly loved it, it felt a 24 carat production of a gold-plate show. But upon revisiting, to celebrate Bonnie Langford’s arrival in the company for its final furlong before closing in the New Year, some kind of magic seems to have happened at the Theatre Royal Drury Lane (or maybe I was just less grumpy tonight!) as it has now matured into something spectacular.
The only major difference is Langford’s presence as Dorothy Brock, but there’s just something about her that shimmers with star quality and it is contagious. So even as she’s trying to dampen it down a bit as this particular fading star, her comic timing makes her scenes crackle with electricity, her singing is on point and she’s just a dream to watch. It’s a perfect role for her – who needs stunt casting when you have the right casting? And as for her surprise appearance in the finale? SWOON!
I also felt Clare Halse has really settled into the role of Peggy Sawyer. It’s a curious role in that she grows to become the leading lady of this musical as the understudy-come-good, but is given precious little time in which to do so and most of that is taken up with dance. Such amazing dance though, she really is effortless in her every graceful move, and she’s acting more through every movement too as her self-belief slowly blooms into the incandescent life of the finale. Continue reading “Re-review: 42nd Street, Theatre Royal Drury Lane”
“Who could ask for anything more”
True to its name, An American in Paris premiered in 2014 at the Théâtre du Châtelet in the French capital to ecstatic reviews before transferring to the Palace Theatre on Broadway for another well-received (and Tony-winning) run there. It now rocks up at the newly refurbished Dominion Theatre, just ahead of another huge dance-heavy Broadway musical in 42nd Street, producers clearly banking on audiences wanting distraction from the realities of the outside world.
And that it certainly provides – director and choreographer Christopher Wheeldon’s reinvention of the 1951 film (new book by Craig Lucas) is an absolute feast for the eyes and ears. George and Ira Gershwin’s score is beyond classic (‘I Got Rhythm’, ”S Wonderful’, ‘They Can’t Take That Away from Me’ et al) and sounds luscious in Rob Fisher’s new arrangements musically directed by John Rigby, and Bob Crowley’s set and costumes look divine in all their old-school charm. Continue reading “Review: An American in Paris, Dominion”
“When you’re feeling certain feelings that just don’t seem right”
This is going to be less of a review than a jumbled thought piece coming out from the marketing campaign for The Book of Mormon which has seen unprecedented levels of saturation across London. The publicity for the show started way back, adverts on buses and in tube stations have been appearing for months now but the week leading up to last Thursday’s press night saw an absolute deluge of coverage which meant it was even harder to escape. Lengthy preview features which all but reviewed the show were printed in newspapers; the #LoveMormon twitter campaign went into overdrive, using many of those tweets as quotes in adverts which, following the gala opening night, included an incredible four page ad just featuring tweets from celebrities.
One might have imagined such levels of hype would be hard to live up to but by all accounts, it has worked as a press release arrived yesterday trumpeting that The Book of Mormon had broken the record for the biggest single day of sales the previous day, taking in an astonishing £2,107,972 and this from a show which had already pretty much sold out until the summer. Of course, one could point to the ticket prices to explain some of the maths – the majority of the tickets are retailing at £74.50 and £127, £39.50 is as far as the cheap seats go (day lottery aside) – but nonetheless, the achievement shouldn’t be underestimated. Continue reading “Review: The Book of Mormon, Prince of Wales”
“Just a little touch of star quality”
I haven’t done many reviews of soundtracks to shows since starting to cover CDs on here, focusing more new writing and solo albums from MT performers, but I don’t know why not as I listen to them just as much. The first I’ll cover will be the OLCR of the 2006 revival of Tim Rice and Andrew Lloyd-Webber’s Evita, a production which revitalised this stalwart of a show in a way that I didn’t think possible and introduced me, and the rest of London’s theatregoers, to the glories of Argentinean star performer Elena Roger.
The soundtrack, edited highlights rather than the full score, captures much of what made that production so vibrant so that it doesn’t really matter that we don’t have any of the striking visuals and choreography that accompanied this Latin American infused remounting. The orchestrations have been totally refreshed in line with this re-envisioning and with Roger’s singing leading the company, there’s just a greater sense of authenticity about the whole shebang. Continue reading “CD Review: Evita 2006 London Cast Recording”
“And my head I’d be scratchin’ while my thoughts were busy hatchin’
I could have quite happily given The Wizard of Oz a miss, it wasn’t ever really on my list of shows to see but the combined news of a visit from a family member who wanted to see it and Hannah Waddingham’s imminent departure from the ensemble meant that I found myself there on a Saturday evening… There’s something a little odd about its choice as Andrew Lloyd-Webber’s third reality casting show, Over the Rainbow, as the show is not really a fully-fledged musical, no matter how famous some of the songs but he persevered nonetheless. What is even odder is his assembly of a strong musical theatre cast around the eventual winner, Danielle Hope, given the paucity of many of the roles around Dorothy.
Lloyd-Webber’s way around this has been to write new songs, with long-standing lyricist Tim Rice, to beef up the roles of characters like the Wizard and the Wicked Witch of the West and justify the casting of Michael Crawford and Hannah Waddingham respectively. But despite looking a picture with some tricksy staging and wirework, the end result is curiously banal, exceedingly bland and one which rarely excited me. The focus is so much on the stagecraft that the heart of the story is rarely engaged: Hope’s Dorothy is sweet but rarely interesting, there’s little of the ‘star quality’ evident this evening but then the role is not one that really encourages it; Michael Crawford made very little impact either as the Wizard or the cameos as Ozians and so it went, emotion taking second-place to spectacle. Continue reading “Review: The Wizard of Oz, Palladium”
“Do you always pray during those seconds before curtain-up?”
The Drowsy Chaperone is receiving its first off-west-end fringe revival after a spectacular failure with its West End run 3 years ago. I’m not entirely sure why it was so unsuccessful featuring Elaine Paige as it did but the misguided marketing campaign had a lot to do with it I’m sure. It is however also quite a niche piece, it should appeal to any fan of musical theatre but beyond that, I’m not sure how much attraction it has. But relocated and retooled to the Upstairs at the Gatehouse pub theatre in Highgate, this production captures all the charm and effervescence of this delightful show and hopefully it will restore some of its reputation here in London.
The show starts in darkness with our narrator explaining that he much prefers to listen to his favourite musicals than actually go to the theatre and he proceeds to put on his favourite record, The Drowsy Chaperone from 1928. This show-within-a-show is about two lovers whose wedding is put in jeopardy on their wedding day – by disaster, by themselves, by the drowsy chaperone who is supposed to be making sure the bride doesn’t see the groom on that fateful day and a whole host of stereotypical Broadway caricatures all with their own agendas. Continue reading “Review: The Drowsy Chaperone, Upstairs at the Gatehouse”
I was adamant that I didn’t want to see this production of Evita for so long and I am not really sure why. But having announced its closure and with some good ticket deals floating around, I finally took the plunge and boy, was I wrong. Central to this revival of the 1978 Andrew Lloyd-Webber and Tim Rice collaboration was the casting of the Argentinean Elena Roger to take on the title role of this rags to riches story of the second wife of Argentinean president Juan Perón, Eva Duarte, whose controversial rise to power captured the hearts of some, thoroughly alienated others but ensured her a lasting legacy as one of the most colourful political leaders.
From the opening number, I could feel something exciting happening, a certain energy on the stage, which then exploded in a joyous version of ‘Buenos Aires’ filled with ecstatic singing, tight Latin-inspired choreography and I just loved it, I was ready for giving a standing ovation from then on! The incorporation of a real Latin American feel into both the music and choreography gives the show a real injection of authenticity which lifts it into the stratosphere. Continue reading “Review: Evita, Adelphi”