Re-review: The Lorax, Old Vic

Two winters ago if you went to the Old Vic,
Your life would have been filled with something fantastic.
A musical treat fit for all of the fam’ly,
The Lorax is as good as such a show could be.

Returning for half-term with some new cast members,
The musical’s just as good as I remember.
It’s heartfelt and funny and really quite moving,
A powerful message but not too reproving. Continue reading “Re-review: The Lorax, Old Vic”

Review: The Lorax, Old Vic

If Dr Seuss stories are what makes you tick,

Then this Christmastime you should hit the Old Vic.
The Lorax adapted by scribe David Greig
is so damn delightful for tickets you’ll beg.

Director Max Webster has served up a treat
with such charm no panto could ever compete.
A show for all ages, it’s also a musical,
I had my doubts but it’s something quite beautiful.

A magic tale that’s pro-environmental
hits corporate greed in a manner not gentle.
It’s clever and prescient (dates from ‘71),
pertinent as ever, these fights still not won.

Charlie Fink’s music may not sound like Dvořák
but it’s perfect for a show that is based on The Lorax.
He’s also the frontman of Noah and the Whale,
so diverse his songwriting but perfect to scale.

Girl-group style lawyers and rock-based tree-chopping,
there’re also some fast ones that’ll have your feet bopping.
Fink’s score is eclectic but enthusiastic,
while MD Phil Bateman makes it sound fantastic.

The cast is quite special, with two men named Simon.
While they are quite different,both sparkle like diamonds.
Paisley Day’s Once-ler is a fab green faux-villain,
he’s quite sympathetic though trees he be killing.

Now Lipkin’s a man who does love a good puppet
(to be scared of such things that would make you a muppet).
Helped by Laura Cubitt and the ace Ben Thompson,
the Lorax becomes a magnificent frontman.

He’s funny and grouchy, compassionate and wise,
it’s hard to be unmoved by such poignant eyes.
I also loved Richard Katz and Penny Layden
and hot pink La Barrie’s a bouncing good maiden.

Choreographer McOnie comma Drew,
makes dancing look elegant, beautiful too.
The set design’s cleverly done by Rob Howell,
it certainly hasn’t been done with a trowel.

The Lorax is moving and mighty good fun,
the interval sketch is hilariously done.
So book now while you can and don’t make a fuss,
this show is just perfect for ages six plus.

CD Review: The Light Princess (Original Cast Recording)

“No… it can’t be… is it gravity I am feeling?”

It’s been a goodly time coming, just over two years since it opened actually, but the Original Cast Recording of The Light Princess is finally here. Finely crafted by writers Tori Amos and Samuel Adamson with the original cast from the National Theatre production and recorded entirely under studio conditions, this double CD a triumphant achievement. It simultaneously acts as a perfect tribute to a much-loved show (one I saw five times during its too-short run #1#2#3#4#5), it also advances the score, refining its musicality into a more intense yet accessible experience.

Right from the opening bars of the ‘Prologue: Once Upon A Time’, Katherine Rockhill’s piano playing sounds amazing and is rightfully forefronted here as the cornerstone of Amos’ wide-ranging compositions, the lushness of the strings sound pretty special too. And with Rosalie Craig’s astonishing performance as Althea – the light princess herself – liberated from the constraints of this most physically demanding of roles (both for her and for us too, goggling at the inventiveness with which her floating was essayed), her vocal interpretation deepens into something even more affecting, impossible as it may seem to anyone who saw her amazing work onstage.  Continue reading “CD Review: The Light Princess (Original Cast Recording)”

Review: Treasure Island, National Theatre

“Thanks for all the pies and adventures”

The big family-oriented show at the National Theatre this winter is Robert Louis Stevenson’s Treasure Island (though as it runs in rep right through to April, one hopes Spring will have sprung by then) which has been adapted for the stage by Bryony Lavery. But whilst Polly Findlay’s production has some very definite plus points, not least in an inspired design by Lizzie Clachan which utilises so much of the Olivier’s potential, it doesn’t quite have the full shiver-me-timbers factor to make it an undoubted success.

Clachan frames the theatre’s large revolving drum with a set of lowering curved ribs which suggest all kinds of mystical maritime adventures – the frame of a trusty ship, the ribcage of a giant whale, the quivering trees of a strange island. Deep in the revolve is where the real treasure is though, a warren of cabins that reflect the social hierarchy of the time and later on the maze of tunnels in which the gold can be found. Combined with the sensational starry skyscape up above, Bruno Poet’s lighting looking stunning, this is the National doing what it does so well. Continue reading “Review: Treasure Island, National Theatre”

Final review: The Light Princess, NT

 “See these tears flow, this H2O”

There’s not really much more to say than to bid a fond farewell to this most beloved of shows. Despite the fierce love it engendered in its devoted fans, I personally don’t think a transfer would have necessarily worked so well. There’s something wonderfully neat about its life at the Lyttelton, the length and nature of its run in rep meaning that Rosalie Craig was able to make every single performance – an impressive feat even before one touches on the extraordinary demands of the lead role. And getting to see the final show, with a large group of people who had been equally (if not more) touched by the work – and that includes the extraordinary cast and company, I don’t think I’ve ever seen so much visible emotion at the end of a run – was a genuine privilege. 

Since the show shone so brightly, yet so briefly, it has left the kind of indelible impression that will be impossible to shift. I saw it five times in total – you can read about visits one, two, three and four – and each time, it surprised me, its densely complex nature revealing something new each time with different musical motifs becoming prominent, the various themes shifting in emphasis, the texture of the show almost malleable in its changeability. So now we have to wait for the soundtrack and dream of once upon a once a, once upon a time.

“What you have done, has brightened the world” 

 

Photos: Brinkhoff/Moegenburg

Album Review: Matilda Original Broadway Cast Recording

“You mustn’t let a little thing like little stop you”

The joys of Matilda the Musical have been one of the abiding pleasures of my theatregoing this decade – from my first experience in Stratford-upon-Avon to its hugely successful opening in the West End, its rise as one of the strongest new musicals of recent years, and one of the most effective adaptations of a Roald Dahl story, has been undeniable. And a huge part of that journey for me was the release of the soundtrack which convinced me of the merits of Tim Minchin’s score and erased any doubts I’d previously had, subsequently becoming one of my most listened-to albums.  

So the news that an Original Broadway Cast recording was being released filled me with a little trepidation as the score has been crystalised so perfectly for me, even to the extent that I don’t even feel the need to see the show again as so many of the original UK cast has moved on. But the OBC recording has a number of sweeteners which meant I couldn’t resist it. A number of additional tracks are included – the overture introduced for the Americans, extra songs like ‘The Chokey Chant’, ‘Chalk Writing’ and the story songs covering the Escapologist and the Acrobat, and deleted song ‘Perhaps a Child’ which was cut in the preview period.   Continue reading “Album Review: Matilda Original Broadway Cast Recording”

Re-review: The Light Princess, National Theatre

A review of the fourth time I went to see The Light Princess at the National? 

What I will say though, is that it was my first time seeing it from the circle and it really did give a different perspective to some of the more expansive scenes in the Wilderness, the illusion of flowing water much more effective. And Althea’s floating also felt different from afar, the magnificent facial hair less of a distraction from further away… Just one more trip booked now before it ends 🙁

Re-review: The Light Princess, National Theatre

“Ringing out, ringing out…”

Visit number three to this most lovely of shows for me, though I’m lagging way behind the super-fans who are surely up to double figures by now. Original review is here, taster preview post from my first viewing here, and given their exhaustiveness, there’s really little else to add. The Light Princess really is the loveliest of shows and its uniqueness and complexity, the very things that turned others of, is precisely what keeps me coming back (I’ve currently got two revisits booked in before it ends…). 

The lushness of the score, tangled as the forest that divides Sealand and Lagobel on first hearing, but richly rewarding repeated listens; the gobsmacking consistency of Rosalie Craig’s immensely physical performance replete with flawless vocal, the gorgeous romanticism of the whole production – you really should book if you haven’t done so already.

Photo: Brinkhoff/Moegenburg

Review: The Light Princess, National Theatre

“You are, you are…Althea, you are…changing the world for me”

Long awaited and long gestated, Tori Amos and Samuel Adamson’s musical take on The Light Princess arrives at the National in a blaze of theatrical glory that makes it one of the shows of the year. Based on a Scottish fairytale, the teenage heirs of warring kingdoms are both mourning the loss of their mothers but their grief has affected them in different ways. Digby’s soul has become weighed down so heavily he has forgotten how to smile, whilst Althea’s protective mechanism has been to become to airily light that she literally floats above it all. As they rebel against their strict fathers, they each escape to neutral ground only to encounter each other and instant attraction. But emotional articulacy doesn’t come easily and political concerns threaten to tear apart their passion before it even really begins. 

Marianne Elliott’s direction pulls together the various elements of her huge creative team with exceptional skill, never losing sight of the sheer magic that the best theatre can bring and marrying a very modern aesthetic with the sometimes traditional feel – Althea’s movement (I don’t fly, I float!) is achieved through some amazing acrobatic work from a team of four with just a little help from some high tech flying rig. And in Rae Smith’s gorgeous designs, it all just looks superb; every movement catching an acute moment of emotion, whether the deft manipulation of a falcon into flight (Finn Caldwell and Toby Olié finally making puppetry make sense to me) or a girl literally raising the spirits of a boy (Steven Hoggett’s inimitable physical language once again heart-stoppingly good). Continue reading “Review: The Light Princess, National Theatre”

(P)review – The Light Princess, National Theatre

Any thought that I might have attended The Critics’ Circle Centenary Conference were immediately quashed when I realised that it was being held on a Friday, hardly conducive to those of us who want to engage with theatre reviewing but also have to hold down a 9-to-5 but maybe that was part of the point… Anyhoo, one of the thornier issues that frequently rears its head is the reviewing of previews and whilst the last thing in the world I want to do is resuscitate that debate, I thought it might be an interesting experiment to do things a little differently. 

There are no hard and fast rules about (theatre) blogging and whilst it remains an innately personal exercise for me, there’s no pretending that it exists in a vacuum, cloistered from outside concerns and a fast-changing world. And it seems to me that that is the lesson that theatre criticism as a whole ought to take – railing that things aren’t like they used to be is all well and good but ignoring evolution is just perversely blinkered.  Continue reading “(P)review – The Light Princess, National Theatre”