There’s much to like about Dear Evan Hansen at the Noël Coward Theatre, not least a brilliant lead performance from Sam Tutty
“Will I ever be more than I’ve always been?”
After seeing Dear Evan Hansen, you realise that its title can be taken two ways. It’s the salutation on a letter that precipitates a world of trouble for the awkward teenager and those around him as per Steven Levenson’s effectively contemporary book. But it also ultimately emerges as an affectionate form of address, troublingly so as the show latterly pulls its punches around some of the harder-hitting topics that it raises.
High-school senior Evan’s life is crippled by social anxiety. His hard-working single mum barely has time for him, he’s got no mates to speak of, and his therapist keeps setting him homework. Then when one of his classmates Connor Murphy dies by suicide, a chink of light unexpectedly cracks through his depression, as an unlikely chain of events leads him to claiming that they were best friends in order to emotionally support the grieving family. Continue reading “Review: Dear Evan Hansen, Noël Coward Theatre”
There’s not many people I’d let have a guest review on here but Robert Foster, aka my father, is certainly one of them. I was (pleasantly) surprised when he (and my mum and Aunty Jean) declared that they had really enjoyed The Girls in Manchester and so I thought it would be fun to contrast our reactions – here’s my own review from Leeds and read on for his.
“Look in the eye of your dear fucker uppers”
There cannot be many of you out there who do not know the real-life story of the Calendar Girls. It made national news at the time; the film has been around for more than a decade; and the stage play followed not long behind. Now, author Tim Firth has joined forces with Gary Barlow of Take That (a popular beat combo, m’lud) in a musical version, which mysteriously has shed the ‘Calendar’ and is just called The Girls. For those recently returned from Mars, the story is set in a small Yorkshire town where Annie loses her husband, John, to cancer. Her best friend, Chris, and other Women’s Institute friends rally round to find a way to pay tribute to the man they all loved and decide on a nude calendar. The profits will buy a new settee for the Relatives Room at the hospital where John was treated.
Could this story stand yet another retelling? Well, my answer is a resounding if slightly surprised yes. Firth and Barlow have created a richly entertaining evening, at times gentle, sad and moving whilst being overwhelmingly joyous and funny. Continue reading “Guest review: The Girls, Lowry”
“It’s not naked, it’s nude”
If all you do each night is pray that you can see a Gary Barlow musical in the UK (I do find it surprising that Finding Neverland hasn’t made its way back over here from Broadway yet) then you’re in luck as The Girls has now arrived. Opting for a premiere at the Leeds Grand and then skipping over the Pennines to the Lowry in the New Year, the show is clearly testing the waters with regards to any potential future plans as it only takes a minute to end up with a big theatrical flop on your hands.
Not that that seems likely for The Girls (though whoever made the choice to lose the ‘Calendar’ from the title must be living in a world of fools). For it is a musical adaptation of the now-famous story of that group of Yorkshire WI women casting off their inhibitions, and their clothes, to create a nude calendar for a very personal fundraising campaign for Leukaemia Research. Tim Firth has already adapted his film into a successful play and remains onboard here – could it be magic third time round? Continue reading “Review: The Girls, Leeds Grand”
“Link arms with those dreamers of midsummers past”
Kicking off a season of three Howard Goodall musicals, the dreaming actually marks the professional premiere of a show has been performed many times by youth theatre groups, commissioned as it was by the NYMT and premiered by them in 2001. Based on Shakespeare’s A Midsummer Night’s Dream, book writer Charles Hart relocates the story to a Somerset village in an Edwardian society on the cusp of the Great War but maintains the vast majority of the original tale as Goodall weaves his inimitably English compositional magic around it.
And it is, in the main, an effective updating. The Rude Mechanicals becoming a group of morris dancer-esque mummers is a rural buffoon’s delight and if ‘The Banner of Saint George’ (in place of Pyramus and Thisbe) could have stood to be half the length, it is still chucklesome. And the starchy manners of the time translates amusingly to the quartet of lovers who run away to the forest and effectively to the parental figures who disapprove so, the silliness of the lovers’ quarrel in the songs ‘Jennifer’ and ‘Midsummer Madness’ is perfectly evoked. Continue reading “Review: the dreaming, Union Theatre”