A much welcome revival for Sasha Regan’s all-male Iolanthe, bringing Gilbert and Sullivan to Richmond Theatre as part of a UK tour
“What’s the use of being half a fairy?”
Delving into deep into your wardrobe can get you into all sorts of bother. With CS Lewis, you could end up in the wintry woods of Narnia and with Sasha Regan, you might find yourself in the dress-up fantasy world of light operetta. Of all of her all-male Gilbert and Sullivan productions, Iolanthe is the one which I remember most fondly (its transfer to Wilton’s Music Hall perfectly done) so the news that it was the choice for this year’s revival for a UK tour left me tripping hither and thither in excitement.
And though I was a little apprehensive to revisit so beloved a production, this Iolanthe has stood up well. Mark Smith’s choreography with its suggestions of sign language for fairy speak, Stewart Charlesworth’s design making full use of the jumble box aesthetic, and Regan’s astute direction milking a show that’s more than a century old for all of its considerable comic potential and finding room for her own innovations as well. With MD Richard Baker controlling the music from his solo piano, this remains an arresting take on your G&S. Continue reading “Review: Iolanthe, Richmond Theatre”
We get tricked”
With a singing style that is as strong as Theresa May’s record on supporting the police and an accent that is as stable as the content of her manifesto, it’s a bold move to make Miranda Hart the above the title star of this production of Annie, the first in London this millennium. To be fair though, unlike May she’s willing to work well with others, gamely throwing herself into harmonies and hoofing around in vaudevillean-style routines, but her performance is too close to the warmth of her TV persona to ever really convince of the darkness at the heart of Miss Hannigan.
Equally, it’s hard to feel that the West End is in real need of Annie and all its old-fashioned ways. Nikolai Foster’s production, seen on tour in the UK over the last year, has its certain charm but it is hard to get excited by any of it. Colin Richmond’s jigsaw puzzle of a set design misguidedly evokes thoughts of Matilda when in reality there’s nothing that fresh about it; Nick Winston’s choreography similarly promises much but ends up reaching for traditional touchpoints which end up underwhelming with the relatively small company at hand here, as evidenced in the small scale of ‘N.Y.C.’. Continue reading “Review: Annie, Piccadilly”
“These modern productions are all very well…”
Taking your seat in the Palladium to see the musical theatre behemoth that is Cats – now 33 years old and receiving a 12 week revival here in one of Andrew Lloyd Webber’s own theatres – is an act of strangely calculated nostalgia. Famed for being one of the longest-running shows both on Broadway and the West End, its feline frolics remain entirely evocative of the 80s and as it reunites the original creative team – director Trevor Nunn, choreographer Gillian Lynne, designer John Napier – that should come as little surprise.
For those unfamiliar with the show, it was actually a feat of some daring. A through-sung, through-danced piece with no real narrative, save that taken from T.S.Eliot’s book of whimsical poetry, Old Possum’s Book of Practical Cats. In essence, we meet the key characters of a tribe of cats who have gathered in a junkyard for a special night where one of them will be selected to be reborn into a new life in cat Heaven (or more accurately, be part of a rather dodgy bit of stagecraft, almost as naff as those cats’ eyes at the beginning).
Continue reading “Review: Cats, Palladium”