Andrea Levy’s novel Small Island comes to life most beautifully in this adaptation by Helen Edmundson at the National Theatre
“How come they know nothing about their own empire?”
There’s something glorious about Small Island, its epic scale suiting the National Theatre to a tee as a story about marginalised communities finally breaks free from the Dorfman… Andrea Levy’s novel was memorably adapted for television in 2009 and Helen Edmundson’s version is no less adventurous as it refashions the narrative into a linear story of just over three hours and stellar impact with its focus here on three key characters whom circumstance pushes all together.
Jamaicans Hortense and Gilbert with their respective dreams of being a teacher and a lawyer, and Lincolnshire farm daughter Queenie, all searching for their own version of escape and all unprepared for the consequences of smashing headfirst into the real world. For dreams of the ‘motherland’ prove just that for these first-generation immigrants shocked by the hostility of post-war Britain. And Queenie’s hopes of freedom are curtailed as she finds herself trapped in a loveless marriage to bank clerk Bernard. Continue reading “Review: Small Island, National Theatre”
A trio of West End cast recordings (well, one’s off-West-End…) show that it is sometimes hard to recapture the stage magic
Starting off with the best of this bunch, the Southwark Playhouse’s production of Working might not have seemed like the obvious choice for a cast recording but maybe the lure of a couple of new Lin-Manuel Miranda tracks was a real sweetener.
Truth is, it is the quality of the cast’s performances that make this a fantastic addition to the list of albums you need to hear. From Siubhan Harrison’s impassioned ‘Millwork’ to Dean Chisnall’s gleeful ‘Brother Trucker’, and the highly charismatic Liam Tamne nails both of Miranda’s contributions – the wilful ‘Delivery’ and a corking duet (with Harrison) on ‘A Very Good Day’.
Experience pays though, as Gillian Bevan and Peter Polycarpou take the honours with some scintillating work. The latter’s ‘Joe’ is beautifully judged, as is the former’s ‘Nobody Tells Me How’, both demonstrating the uncertainty that can come at the end of a long career, when retirement doesn’t necessarily hold the joyful promise it once did. Highly recommended. Continue reading “Album reviews: Working / Bat out of Hell / 42nd Street”
“You’re going out a youngster, but you’ve got to come back a star”
In the rush to dole out the five star reviews that seem de rigueur for any big musical these days (22 for An American in Paris so their new poster shouts proudly), there appears to be a willingness to overlook storytelling for spectacle. As at the Dominion, the newly opened 42nd Street is a massive dance show which is undoubtedly hugely, well, spectacular. And it also suffers from not being particularly dramatically interesting, Michael Stewart and Mark Bramble’s book contains hardly any dramatic tension at all – will the show-within-the-show be alright on the night? What do you think?!
I start with this line of thought because as much as I was impressed by 42nd Street, it rarely moved me in the way that Golden Age musical theatre (my favourite genre of all, surprising no-one) at its best does. Based on a novel from the 1930s, the book here – as directed by Bramble – sacrifices any hint of suspense or meaningful character development for the headlong rush from production number to production number. And it just about gets away with it due to the sheer scale of what is being mounted here. 40+ bodies tap-dancing in unison in bucket-loads of sequins – bawdy and gaudy indeed.
“Where the underworld can meet the elite… Naughty Bawdy Gaudy Sporty Forty-Second Street!” I was lucky enough to be invited to the first preview of 42nd Street at the Theatre Royal Drury Lane and whilst any official opinions about the show are under embargo until press night, I thought I’d give you all some hints and teasers and a little sneak preview (assisted by these beautiful photographs courtesy of Brinkhoff & Moegenburg) through these 42 reasons to see 42nd Street.
For all the hoopla surrounding the genesis of Beyond the Fence – “a musical conceived by computer and substantially crafted by computer” – one does have to wonder would any of us have noticed had we not been informed in advance. The show is the product of a wide-ranging experiment to use artificial intelligence (including a computer system called Android Lloyd Webber) to crunch actual intelligence (about well over 1,000 musicals) to come up with the ideal book, music and lyrics for a machine-tooled West End hit.
Naturally, it isn’t quite as simple as that as the extensive credits (included below for your convenience) demonstrate, the results of all this considerable data analysis actually being shaped or curated into fully fledged musical theatre form by human hands, specifically those of Benjamin Till and Nathan Taylor (they who made their nuptials into Our Gay Wedding: The Musical). Thus Beyond the Fence was born, the response to the statistically-most-likely-to-come-up-with-a-winner scenario “what if a wounded soldier had to learn how to understand a child in order to find true love?” Continue reading “Review: Beyond the Fence, Arts”
It’s been a goodly time coming, just over two years since it opened actually, but the Original Cast Recording ofThe 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)”
“That thing went bang, kaboom. And he’s havin’ some fun now”
There are shows I love and then there are shows I LOVE and Little Shop of Horrorsmost definitely falls into that latter category. I fell for its undeniable charms when I was 11 or 12 I think, when my mum was involved in her school production of it, letting me wander backstage, and the MD, who was also my piano teacher, snuck out a copy of Alan Menken’s most tuneful of scores to enliven my lessons for a good few weeks. Combined with the cult classic that is the movie version, I was utterly hooked and have remained so ever since. So I was most delighted to see the Royal Exchange announcing it as their festive fare and with the ever-exciting Derek Bond directing, who in recent years has delivered a bewitching As You Like It, the hugely under-rated Many Moonsand Lost in Yonkers, through which I cried pretty much non-stop.
The gloriously rich vocal harmonies of Ibinabo Jack, Ellena Vincent and Joelle Moses as Chiffon, Crystal and Ronnette, the girl-group Greek chorus who doo-wop their premonitions of doom, are an ever-present and magnificent hook into the action and never more so than in the stellar one-two that opens the show. ‘Little Shop of Horrors’ is a stone-cold classic theme tune with its shang-a-langs and throaty comma comma commas but ‘Skid Row’ – one of my all-time favourite songs from a musical, I should add – blooms into resplendent life, benefitting from a slightly slowed tempo and some sympatico choreography to really nail the air of quiet desperation that lies at the song’s heart as we’re introduced to this classic “boy-meets-girl-feeds-plant-her-boyfriend-gets-famous-kills-boss-sacrifices-girl-and-dies” story. Oh yeah, spoiler alert 😉 Continue reading “Review: Little Shop of Horrors, Royal Exchange”
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.
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 🙁