I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in July.
On Your Feet, aka the rhythm will get you, sometimes
the end of history…, aka how can you get cheese on toast so wrong
Equus, aka hell yes for Jessica Hung Han Yun’s lighting design
Games for Lovers, aka straight people be crazy
Captain Corelli’s Mandolin, aka the one that got my goat
The Girl on the Train, aka Philip McGinley in shorts
Uncle Vanya, aka I really need to stop booking for plays like this with casts like that
Jellyfish, aka justice for the second best play of last year
Sweat, aka Clare Perkins should always be on in the West End
Sue Townsend’s The Secret Diary of Adrian Mole Aged 13 3/4 The Musical, aka yay for lovely new musicals in the West End
The Light in the Piazza, aka Molly Lynch fricking nails it
Jesus Christ Superstar, aka was third time the charm?
Continue reading “July theatre round-up”
I might have taken a break from reviewing in June, but I didn’t stop going to the theatre – I had too many things already booked in. Here’s some brief thoughts on what I saw.
Betrayal, Harold Pinter
Shit-Faced Shakespeare – Hamlet, Barbican
The Knight of the Burning Pestle, Cheek By Jowl at the Barbican
Somnium, Sadler’s Wells
Les Damnés, Comédie-Française at the Barbican
Vanya and Sonia and Masha and Spike, Theatre Royal Bath
Blithe Spirit, Theatre Royal Bath
The Hunt, Almeida
Present Laughter, Old Vic
Europe, Donmar Warehouse
The Deep Blue Sea, Minerva
Plenty, Chichester Festival Theatre
Pictures of Dorian Gray, Jermyn Street
The Light in the Piazza, Royal Festival Hall
Hair of the Dog, Tristan Bates Continue reading “June theatre round-up”
As sweet-sharp as a diabolo grenadine, the touring version of Amélie the Musical impresses me at the New Wimbledon Theatre
“Will there troubles?
I don’t know
Will there be sweet things?
I hope so”
As sweet-sharp as a diabolo grenadine, Amélie the Musical has lost none of its inimitable charm as it gears up for a considerable UK tour. I adored it at the Watermill but the intimacy there left me wondering how the show would fare in the significantly larger houses to which it will be touring. Turns out I need not have worried.
Michael Fentiman’s production has expanded perfectly to fill the space. A few more ensemble members here, a tweak to Madeleine Girling’s canny set design there, and the show has lost nothing of itself or its kooky Parisian whirl. If anything the actor-muso ensemble’s reinterpretation of Daniel Messé’s score sounds even better than before under George Francis’ musical direction. Continue reading “Review: Amélie the Musical, New Wimbledon Theatre”
A sensational adaptation of the film, Amélie the Musical completely captures my heart – see it now at the Watermill Theatre and then touring across the UK
“Maybe she’s just different”
In a week marked by the heartbreaking sight of Notre Dame aflame, the decidedly Gallic charms of Amélie the Musical arrive to offer a soothing balm. The show – music by Daniel Messé, lyrics by Messé and Nathan Tysen and a book by Craig Lucas – didn’t fare so well on Broadway in 2017 but the creatives, along with director Michael Fentiman, have substantially reworked the material to great effect.
The result is something which cleaves much closer to Jean-Pierre Jeunet’s original film Le Fabuleux Destin d’Amélie Poulain in every inch of its spirit. From singing goldfish to licking stage blood off fingers, Elton John cameos to intimidating figs, there’s a wonderful weirdness to the world created here. It’s no wonder that the introverted Amélie struggles at first to find her place in this hyper-real version of Paris. Continue reading “Review: Amélie the Musical, Watermill Theatre”
“I am not afraid
As everything I’ll ever need appears
his is how my world gets made”
A musical adaptation of Jean-Pierre Jeunet’s 2001 film and led by a red-hot Phillipa Soo coming off her enormous success of Hamilton, Amélie felt like a safe bet for at least a half-decent run on the Great White Way. But underwhelming reviews crippled it and striking out on Tony nominations delivered the killer blow, meaning it closed at the Walter Kerr Theatre before even making it to its third month.
Fortunately, we were blessed with an Original Broadway Cast Recording, so those of us unable to see it can experience some of its pleasures. And it is undeniably pleasant, as befits so gently lovely a story as this. With music by Daniel Messé, lyrics by Messé and Nathan Tysen and a book by Craig Lucas, there’s little to take offence at, and you suspect that that is part of the problem. The gentleness that is such an integral part of the show and the score just ends up tending towards the bland in this volume. Continue reading “Album Review: Amélie (2017 Original Broadway Cast Recording)”
“Who could ask for anything more”
True to its name, An American in Paris premiered in 2014 at the Théâtre du Châtelet in the French capital to ecstatic reviews before transferring to the Palace Theatre on Broadway for another well-received (and Tony-winning) run there. It now rocks up at the newly refurbished Dominion Theatre, just ahead of another huge dance-heavy Broadway musical in 42nd Street, producers clearly banking on audiences wanting distraction from the realities of the outside world.
And that it certainly provides – director and choreographer Christopher Wheeldon’s reinvention of the 1951 film (new book by Craig Lucas) is an absolute feast for the eyes and ears. George and Ira Gershwin’s score is beyond classic (‘I Got Rhythm’, ”S Wonderful’, ‘They Can’t Take That Away from Me’ et al) and sounds luscious in Rob Fisher’s new arrangements musically directed by John Rigby, and Bob Crowley’s set and costumes look divine in all their old-school charm. Continue reading “Review: An American in Paris, Dominion”