The National Youth Music Theatre do a mighty fine job of eerily atmospheric new musical The Legend of Sleepy Hollow at The Other Palace
“Mr Crane says…”
Everyone loves a good horror story right? Which is partly why folktale The Legend of Sleepy Hollow has endured so long, haunting us in various iterations since Washington Irving first published it in 1820. And it has now been turned into a new musical by Helen Watts (book) and Eamonn O’Dwyer (music & lyrics) at the behest of the National Youth Music Theatre, who are performing it for a short run as part of their residency at The Other Palace.
In the New England town of Sleepy Hollow, myths and mysteries abound but the arrival of a new schoolteacher in 1833 takes an even stranger turn. Ichabod Crane is like a breath of cold fresh air, not necessarily fully appreciated by everyone as he sets about dragging the local schoolkids into the Enlightenment single-handedly, disrupting the social order with notions of land ownership, and flirting with engaged women. But not even his rational mind is fully prepared for the eerie strangeness that follows. Continue reading “Review: The Legend of Sleepy Hollow, NYMT at The Other Palace”
“You have to live in this world”
The lure of falling down the rabbit hole is one which has kept adaptations of Lewis Carroll’s Alice in Wonderland appearing on a regular basis on screens and stages and the Manchester International Festival is no exception, commissioning this musical treatment with the National Theatre and Paris’ Théâtre du Châtelet. Composer Damon Albarn (no stranger to the MIF after Monkey and Dr Dee) and writer Moira Buffini’s thoroughly modern version – stylised wonder dot land – certainly has a unique take on the story but has the feeling of something of a work-in-progress perhaps, no bad thing as longer runs in London and Paris will follow this brief engagement at the Palace Theatre.
Here, wonder.land is an online world, a virtual reality where people can escape the drudgery of their own lives or pretend to be someone completely different, for a little while at least. 12-year-old Aly is one such person, trying to hide from the bullies at school and the unhappiness at home by becoming Alice, her all-conquering avatar or online identity who accepts a mysterious quest as part of joining wonder.land. And in her journeying, she comes across variations on many of the characters we’ve come to know but viewed through a different prism, many of them being the avatars of other players, balefully reflecting their own insecurities. Continue reading “Review: wonder.land, Palace Theatre”
“Everybody’s very very nervous”
The theatrical production of London Road
was a major success for the National Theatre, the opening run first extending in the Cottesloe and then being rewarded with a later transfer to the much larger Olivier – I was first blownaway by its originality
and then later comforted by its message
in the aftermath of the 2011 riots. So the news that director Rufus Norris was making a film adaptation was received with apprehensive anticipation, could this strikingly experimental piece of theatre possibly work on screen.
Writer Alecky Blythe uses a technique whereby she records interviews with people which are then edited into a play but spoken verbatim by the actors, complete with all the ums and aahs and repetitions of natural speech. And in 2006, she went to Ipswich to interview a community rocked by a series of murders, of five women in total, all sex workers, and set about telling a story not of salacious deaths but of a community learning to cleave together in trying times. Oh, and it’s all set to the most innovative of musical scores by Adam Cork, elevating ordinary speech into something quite extraordinary.
Continue reading “Film Review: London Road”
“Start by admitting from cradle to tomb, it isn’t that long a stay”
Perhaps with a nod to the fact that it isn’t that long since it was in the West End, the touring production of Kander and Ebb’s Cabaret directed by Rufus Norris is just playing a few days at the New Wimbledon Theatre before touring the country. It was a production that I enjoyed when I saw it back at the Savoy and crucially, it has made the one casting change it needed to really improve. Despite her best efforts, Michelle Ryan never felt really at home as Sally Bowles and the introduction of Siobhan Dillon is a clever one as she embodies the simultaneous fragility and strength of this most iconic of characters.
Otherwise, there isn’t too much more to say about it that wasn’t already said in that previous review. Will Young is a genuine revelation as a chilling Emcee, Matt Rawle’s bisexual writer Cliff exudes chemistry all around and the older lovers torn apart by the encroaching regime hits a real chiming note – Lyn Paul taking over from Siân Phillips against Linal Haft. And Valerie Cutko is an inspired casting choice for Fräulein Kost, a character I always end up wanting to see more of. Continue reading “Review: Cabaret, New Wimbledon”
“You should have known by now you’d every cause to doubt me”
Rufus Norris’ restaging of Cabaret was a big hit a few years back (although I never quite managed to make the trip) and it now receives a revival which has toured the UK (where most of my family caught it at the Lowry before me, how very dare they!) in advance of arriving at the Savoy Theatre. Given the high-profile nature of the show, it seems surprising that the lead casting comes somewhat out of left field – the part of the Emcee is taken on by Will Young and the iconic role of Sally Bowles by Michelle Ryan – and it is a gamble with varying results.
Young actually fits this production like a glove. His sinister, rapacious air as he manipulates the Kit Kat club in a striking rendition of Tomorrow Belongs to Me never lets us forget that this is no light-hearted piece of musical theatre fluff but a snapshot of a highly disturbing moment in world history as the German population fell under the spell of Nazism. Kander + Ebb’s deliciously dark musical was based on John Van Druten’s I Am A Camera which could be recently seen in glorious form at Southwark Playhouse, but that in turn was based on Christopher Isherwood’s short story Goodbye to Berlin, his semi-autobiographical account of living in 1930s Germany. Continue reading “Review: Cabaret, Savoy”