Here’s a heart-gladdeningly lovely turn from the Mary Poppins company to perk up your weekend
“I suffer no nonsense and whilst I remain
There’s nothing else I feel I need to explain”
So good I went twice in as many weeks! When the opportunity presented itself to go back to Mary Poppins, I couldn’t help myself. So why not take a read of my five star review for Official Theatre here. And if you’re that way inclined, you can read my other review here.
Strallens to the fore,
umbrellas at the ready,
penguins…well we won’t mention them. Making its return to the Prince
Edward Theatre where it debuted in 2004, this
classic musical Mary Poppins
arrives at just the right time to
lift our spirits as the nights start to draw
in and politicians spout
falsehood after falsehood to further darken our nights. And there’s a
rollicking good time to be had here
as the show recalls the
good old days of easy-going entertainment.
leading role, Zizi Strallen
is a constant delight as the
stern nanny with just the right amount of
twinkle in her eye as she alights upon the Banks’ household. Vocally, she
is impressive too, whether rebuffing
Charlie Stemp’s charmingly flirtatious Bert whose
enormous perma-grin may or may not be the result of
In the roles of the domestic staff, Claire Machin
and Jack North get many a
if George Banks isn’t the
dad of your dreams, Joseph Millson pretty much is.
children play a big part
in this world and the pair
of tykes I saw this evening were
sweet and sour as their characters are much naughtier than the film. Continue reading “Review: Mary Poppins, Prince Edward Theatre”
“They must have excitement, and so must I”
In a world of Spotify and iTunes and other online music services, compilation albums ought to have died a death. But the enduring success of the Now That’s What I Call Music series puts the lie to that, showing that while the idea of curating your own content is tempting, many of us prefer to let someone else do it for us.
So Andrew Lloyd Webber’s decision to release new anthology Unmasked is a canny one in that respect (read my review here), tapping into the desire to have a nicely pleasant set of musical theatre tunes to pop on in the car. And as with any compilation, it’s as much about what hasn’t been included as what has, that stands out. Continue reading “How to solve a problem like a compilation – my alternative Unmasked”
“Liberté, égalité, fraternité”
The uninitiated might take the existence of braille for granted but Sébastien Lancrenon and Jean-Baptiste Saudray’s The Braille Legacy dramatises the fascinating and moving true story behind its invention. Translated by Ranjit Bolt, the musical slots neatly into Thom Southerland’s takeover of the Charing Cross Theatre and supported as it is by the Royal National Institute of Blind People, it makes for an interesting piece.
Blinded in a childhood accident, Louis Braille’s keen intelligence saw him ruffle feathers at the Royal Institute for Blind Youth where he resided, mainly because prevailing societal attitudes considered the blind to be untrainable. Frustrated by the limits of the opportunities open to him and his schoolmates, he began to develop the tactile code which would unlock the key to reading text – it would be, however, a far from simple journey. Continue reading “Review: The Braille Legacy, Charing Cross”
“You won’t get that out a book on prison procedure
When those suits get caught on the hook, that’s when they need ya”
Bad Girls ran for eight years on ITV, covering the whole gamut of women’s prison storylines from the sublime to the senseless, and now the women of HMP Larkhall live on in Bad Girls the Musical, written by original creators Maureen Chadwick and Ann McManus with music and lyrics by Kath Gotts. Taking many of the characters and fashioning its own story from a range of plotlines across the lifetime of the show, Will Keith’s production for the Union makes for an effective translation from screen to stage.
Perhaps naturally, given the size of the 17-strong company and the number of introductions that thus need to be made (even for those familiar with the TV show), the main thrust of the story takes a little time to come into focus. The corrupt practices of prison officer Jim Fenner, fond of doling out privileges in return for sexual favours, eventually crystallises the motives of the diverse cast of inmates but there’s also the slow burning relationship between lifer Nikki and reformist governor Helen that adds to a book which may seem slight but is ultimately dramatically satisfying. Continue reading “Review: Bad Girls the Musical, Union”
“I always get a special glow when the snow comes falling down”
There’s something a little perverse about a show as intrinsically Christmassy as Elf the Musical opening on Bonfire Night but with a limited run finishing sharply on 2nd January, the time to get festive starts now. Based on the 2003 film starring Will Ferrell and directed by Jon Favreau, the musical capitalises on the feel-good charm of the movie to create something deliciously old-school in feel but with a definite contemporary spin on things. My four star review for Cheap Theatre Tickets can be read here.
“Come begin in old Berlin”
Finally, a traverse staging that feels properly justified. It’s still highly dependent on where you sit – despite being a little late, I was able to secure a great vantage point from the middle of the back row from where the full length of the stage for Grand Hotel was suitably visible and I was glad for it. Thom Southerland’s musicals at the Southwark Playhouse have become something of an annual fixture now, becoming big hits for them (Parade) even if they haven’t always floated my boat (Titanic…).
Based on Vicki Baum’s Grand Hotel, the book by Luther Davis swirls around the residents of this Berlin establishment in 1928 over one fateful weekend. A grande dame of a faded ballerina, a typist dreaming of Hollywood, an aristocrat who has lost his fortune, a businessman facing ruin, a man who has little time left to live, their stories and more intertwine elegantly and fluidly in a constantly moving state of flux which captures some of the unpredictability and increasing darkness of interwar Germany. Continue reading “Review: Grand Hotel, Southwark Playhouse”
“I’m not a man who finds gestures of affection the natural thing to do”
Over the past decade or so, writer and lyricist Robert Gould has worked with a wide range of composers from across the globe and amassed quite the contact list of performer friends, so the progression to recording a collection of his songs feels like a natural one. Words Shared With Friends thus takes in collaborations from the USA to Sweden and Israel, with excerpts from eight different shows and some stand-along songs, and features a roll-call of exciting musical theatre talent including the likes of Laura Pitt-Pulford, Kit Orton, Joe Sterling and Rebecca Trehearn.
The 16 numbers range from impassioned musical theatre to straight up pop-rock songs and through the diversity, it is the British composers who shine most. Sarah Galbraith and Kit Orton duet gorgeously on ‘I Cannot Lose You’, a newly written song from Orton’s own My Land’s Shore; Joe Sterling breezes through the effortlessly perfect pop of ’Reasons’ from the self-penned Roundabout; and Ben Stott captures the bruised fragility of Ben Messenger’s ‘Here It Comes Again’, a ruefully beautiful ballad of self-reflection and resignation. Continue reading “CD Review: Words Shared With Friends”