Some seriously big names – David Walliams and Robbie Williams – can’t save the RSC’s new musical The Boy in the Dress at the Royal Shakespeare Theatre
“Don’t eat my cheese”
There’s no lacking for big names behind the RSC’s big new musical The Boy in the Dress. Based on the novel by David Walliams and adapted by Mark Ravenhill, and with a score by Robbie Williams, Guy Chambers and Chris Heath, the pedigree is certainly there in this story about Dennis, a young football-crazy boy who decides, one day, that he’d quite like to go to school wearing a dress. But Gregory Doran’s production ends up hitting the crossbar – literally so… – and it is a little difficult to work out exactly why.
Is it in Walliams’ book, where absent mothers get entirely short shrift (as do most women, the character of Darvesh’s mum, who even gets a song, is called…Darvesh’s mum) and notions about celebrating difference only go so far – it’s OK for boys to wear dresses and win football matches, but if you buy a copy of Vogue, then you’re the target for homophobic jokes in the script. Or is it in the score which is full of strangely low-impact numbers, until an Indian man appears – cue the Bollywood song! Or someone puts on a dress – cue the disco number! It can feel that there’s not much sophistication at work here. Continue reading “Review: The Boy in the Dress, Royal Shakespeare Theatre”
Seven years, five stars, a return visit to Matilda the Musical shows the show has lost none of its charm
“When I grow up,
I will be smart enough to answer all
The questions that you need to know
The answers to before you’re grown up”
As Matilda the Musical approaches its seventh year in the West End, and a new adult cast has had a couple of weeks to bed in, I was delighted to get the chance to revisit the show. Since its premiere in Stratford back in 2010/11, it has been a musical to fall in love with over and over again. I can – and do – listen to the Original Cast Recording all the time, and it is always on top of the list of things I recommend when I’m ever asked ‘what should I see’. Take a read of my 5 star review for Official Theatre here, as I try not to use up all my words in praise of Gina Beck.
Running time: 2 hours 35 minutes (with interval)
Booking until 27th May 2018, for the moment
|David Shannon, Gina Beck, Tom Edden and Marianne Benedict
Stick it in your fam’ly album”
With Half A Sixpence due to close in the West End in exactly one month, I thought now was as good a time as any to give the Original Cast Recording a listen. The show has built up quite the devoted following in its lifespan but for me, in both its original Chichester production and the subsequent transfer to the Noël Coward, it was a musical that I liked rather than loved, the balance not quite right with all the magic in the second half.
And listening to the show simply reminded me of how I felt. Stripped of its extraordinary physicality, Charlie Stemp’s chirpy chappy routine is surprisingly quite wearisome to listen to from the outset. The sentiment of the opening title track proving cloying and the lack of any killer new tunes from Stiles and Drewe before the interval leave the score sounding solid rather than spectacular, I still can’t hum you a single track save ‘Half A Sixpence’ itself. Continue reading “Album Review: Half A Sixpence (2016 London Cast Recording)”
“I’d let him strum my banjo”
It was no surprise to discover that Half A Sixpence would be transferring into the West End – its run at Chichester Festival Theatre was a huge success (you can read my review here) and with Cameron Mackintosh on producing duties, it was always going to be a case of when rather than if. It’s a slow-burner of a show, the second act really is the business thanks to Andrew Wright’s choreography and as it opened at the Noël Coward Theatre last night, you can now read my 4 star review for the transfer over at Cheap Theatre Tickets here.
Running time: 2 hours 45 minutes (with interval)
Booking until 11th February
“I have not a bad word to say,
about small towns. Per se.”
Expectations were high, how could they not be. Following on from the extraordinary success of Matilda, Tim Minchin’s next foray into musical theatre was to an adaptation of the 90s movie Groundhog Day, playing a two month run at the Old Vic ahead of a presumed Broadway transfer (a move that has had a little doubt cast on it by the withdrawal of major producer Scott Rudin). Now full disclosure, I saw it in its first week thanks to the PWC £10 tickets and the show went for a full month of previews before officially opening, so feel free to take my opinion with a pinch of salt.
For I did not enjoy Groundhog Day, at all. Worse than that, I was bored by it – at least hating something rouses some form of passion, but as Danny Rubin’s book cycled round and round and Minchin’s not unpleasant but in no way striking score dissipated into the ether, I wondered if Rudin might not have had the right idea. There’s a stellar performance from US import Andy Karl as the central Phil, carved out of that leading man material that is particularly American, but for me there was just too little magic emanating from Matthew Warchus’ direction to elevate the material.
Running time: 2 hours 30 minutes (with interval)
Booking until 17th September
Having had a near-perfect experience in on the front row at Chichester for Singin’ in the Rain, I didn’t think it could be topped by visiting the London transfer – sometimes I think it is best not to go back. But listening to the cast recording released by the London cast in 2012, I’m kinda wishing that I had. It is a cracking musical whichever way you cut it but this is a brilliant record of a dazzling production that, dare I say it, I listen to just as much as the original film soundtrack.
This CD features 19 tracks, marking a slightly different tracklisting to previous theatrical productions, with most of the reprises included too. Larry Wilcox and Larry Blank’s orchestrations sound just luscious under Robert Scott’s musical direction, making the instrumentals just as vividly vibrant to listen to as the iconic songs we’ve all come to know and love and in Adam Cooper, Scarlett Strallen and Daniel Crossley’s expert hands, they are gloriously great. Continue reading “Album Review: Singin’ in the Rain (2012 London Cast Album)”
“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”
“If I present an educated pooch
Who’s trained to dance the hoochie cooch
What better way to waste a bit of time”
We’re so used now to the big Chichester musicals making the automatic leap into the West End that it was something of a surprise to hear that last year’s Barnum would not be getting the much-rumoured transfer even with less than stellar reviews. And seeing the show for the first time tonight in its retooled version – Jean Pierre Van Der Spuy directing an adaptation of Timothy Sheader and Liam Steel’s CFT production – which is heading out on a very extensive UK tour that stretches to next August, it is not hugely difficult to see why, if one looks at it with a coolly dispassionate eye.
Mark Bramble’s book has showman PT Barnum following his dreams to put on the world’s first travelling circus but little dramatic impetus to form a more interesting narrative journey. And Cy Coleman’s score with Michael Stewart’s lyrics has some pleasant enough songs in it – ‘Come Follow The Band’ and ‘There’s A Sucker Born Every Minute’ – but it also has a lot of filler; for such an ambitious show, it is a rather bland musical experience. Fortunately it is also blessed with some game-changing visuals and Andrew Wright’s peerless (certainly for his generation) choreographic gifts. Continue reading “Review: Barnum, New Wimbledon”
Though the temptation is strong, and the actuality may well prove so, I don’t think I will be catching quite so much theatre in 2012 as I did last year. I could do with a slightly better balance in my life and also, I want to focus a little more on the things I know I have a stronger chance of enjoying.
So, I haven’t booked a huge amount thus far, especially outside of London where I think I will rely more on recommendations, but here’s what I’m currently looking forward to the most: Continue reading “Shows I am looking forward to in 2012”