Emma Williams reconfirms her star status in this 80s musical adaptation of An Officer and a Gentleman at Leicester’s Curve Theatre ahead of a UK tour
“Way to go, Paula! Way to go!”
From its opening number (which provides an unsettling reminder that Status Quo actually had a decent tune or two), this major new musical of An Officer and a Gentleman shimmers with a sense of real quality. Some might demur at the notion of a movie remake peppered with a random assortment of pop songs from the 1980s but the resulting piece of theatre is highly enjoyable.
This is down to the integrity and craft of Nikolai Foster who rightly takes this source material (book by Douglas Day Stewart and Sharleen Cooper Cohen from his original screenplay) seriously. We may be in 1982 but there’s no jokey visual gags about that decade here, just an over-riding sense of life on the edge for the working class community of Pensacola, Florida, looking on at the US Naval Aviation Training Facility that dominates their city. Continue reading “Review: An Officer and a Gentleman, Curve”
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
“Secretly they was overjoyed”
Rachel Kavanaugh’s glorious take on The Sound of Music two years ago for the Open Air Theatre in Regent’s Park was a wonderful thing indeed so it is little surprise to see her welcomed back to this venue to tackle another Golden Age classic, this time Seven Brides for Seven Brothers. It’s a canny decision as her familiarity with the space shows, utterly unafraid to use its full width and depth for unexpected arrivals, slow reveals and thrilling chase sequences and of course, the coup de théâtre that is the pinnacle of Peter McKintosh’s design which is a real piece of old-fashioned theatre magic.
Kavanaugh also makes small but pointed attempts to address the dubious gender politics of the show, without ever sacrificing the spirit of fun that should always characterise such classic musical theatre. So from the first moment Adam and Milly clap eyes on each other, there’s no doubting that the erotic charge between them is mutual, her lustful glances perhaps even more overt than his. And the strength of Laura Pitt-Pulford’s performance is that she never lets us forget she’s a woman making her own choices, even if its just making the best of a bad lot. It’s not a perfect reconciliation of the issues but it feels enough for her, for now. Continue reading “Review: Seven Brides for Seven Brothers, Open Air Theatre”
“I don’t want to believe that we come from monkeys and apes, but I guess that’s kinda besides the point”
Inherit The Wind is a courtroom drama, based on the true life story of a Tennessee schoolteacher who was threatened with imprisonment for teaching Charles Darwin’s ideas on evolution, in direct contravention of school policy. A highly strung court case then follows, pitching creationists against evolutionists, and bringing two legal titans to a small town in Tennessee to argue the case, the ramifications of which clearly extend beyond that classroom in the Deep South. Its timing seems uncanny: even on the 150th anniversary of the publication of On The Origin of Species, a highly recommended (by me at least) film Creation, about Darwin’s struggles with his own faith as he wrote it, has not been able to find a distributor in the US because it is considered too ‘controversial’ in a country where allegedly barely a third of the population actually believe in evolution.
The scale of this production really is admirably epic: the staging is superb, with the Old Vic’s stage being opened up to a great depth (you could probably fit the stage for Annie Get Your Gun on there 15 times over!), the already healthy cast is ably bolstered by a phalanx of supernumaries, bringing the total company to 50 bodies who bring an authentic air of claustrophobic small-town living to several scenes, most notably the prayer meeting just before the trial. The use of hymns sung by the company during scene changes further reinforces this strong sense of a community joined by the power of their faith. Continue reading “Review: Inherit The Wind, Old Vic”