New musical H.R.Haitch at the Union Theatre has a feel of knockabout fun which begs not to be taken too seriously
“We are hoping for a happy outcome”
As Kensington Palace gears up for one royal wedding, Iris Theatre are jumping down the aisle first with their musical take on stately nuptuals H.R.Haitch, now playing at the Union Theatre. And though it features a mixed-race woman (like Meghan) marrying a prince, such is the development time for musicals that is actually the fact that she is a ‘commoner’ (like Kate, apparently) that proves the inspiration here.
For aspiring canapé-chef Chelsea is Barking born and bred, and a strident anti-monarchist to boot. And she’s pretty excited about her suspicions that her nice-but-dim boyf Bertie is going to propose! Thing is, Bertie is actually Prince Albert – heir to the British throne and (for reasons I’m not sure we ever really understood) living incognito among the people. Will Queen Mary accept her? Can the older Princess Victoria thwart the line of succession? And what is it with politicians and pigs…? Continue reading “Review: H.R.Haitch, Union”
“Send us a pineapple for the wedding breakfast”
What was the last lie you told? How much was at stake and did you even think of the consequences? Such are the questions being raised at Briarwood Hall in Sir Charles Worrall’s talk on the study of lies and lying to which we’re all invited. And to illustrate his thesis and to break up the Greek philosophy, he’s employed his staff to act out musical scenes of a notable scandal of the 1820s in which his family was involved. So begins Phil Willmott and Mark Collins’ new musical Princess Caraboo in an amusing and inventive manner, which entertains right until the last porky pie has been told.
Based on real events, the Princess Caraboo was a woman who claimed to have been shipwrecked on the English shore and taken in by some well-meaning sorts in the Worralls, was able to inveigle her way into the heights of Regency society. But by highlighting this deception from the start, Willmott’s book is more concerned with the way in which such lies take hold and are promulgated by societal convention and the need to maintain a facade of propriety. It adds up to an effective and affecting piece of storytelling and reaffirms the Finborough’s commitment to supporting British musical theatre. Continue reading “Review: Princess Caraboo, Finborough”