“Children who refuse to learn will not return”
I only actually got round to seeing the ‘new’ musical version of Mary Poppins a couple of years ago at the Curve in Leicester, ahead of its mammoth tour, and so the novelty of finally seeing it onstage distracted me a little from the finer details of the score, which merged the original of Robert B Sherman and Richard M Sherman with new songs and arrangements from George Stiles and Anthony Drewe.
And listening to it a couple of times, I think I find myself slightly less enamoured of the interventions. That’s not to detract from the quality of the performances – Laura Michelle Kelly makes for a vibrant Mary, Gavin Lee a perky Bert, and the supporting cast is blessed by the likes of David Haig and Linzi Hateley as the Banks, Rosie Ashe as the nefarious Miss Andrew and Jenny Galloway, Melanie La Barrie, and Claire Machin too. Continue reading “Album Review: Mary Poppins (2005 Original London Cast Recording)”
Theatre Royal Bath Productions has announced full casting for David Hare’s Racing Demon, directed by Jonathan Church, and seemingly deliberately designed to challenge my resolve to not see the production which runs from Wednesday 21 June to Saturday 8 July.
As previously announced Olivier Award-winner David Haig will star as Lionel Espy in the multi-award winning play. He will be joined by Sam Alexander, Michelle Bonnard, Anthony Calf, William Chubb, Paapa Essiedu, Ian Gelder, Andrew Fraser, Rebecca Night, Amanda Root and Ashley Russell.
Four clergymen seek to make sense of their mission in inner-city London whilst facing their own personal crises. There’s Lionel Espy, a cleric whose faith is wavering as his parishioners dwindle; tabloid-hounded gay vicar Harry Henderson; ‘Streaky’ Bacon, a genial reverend with a taste for tequila, and a charismatic young curate, Tony Ferris whose arrival is set to fan the flames, whilst his sexual relationship with his lover turns to ash. The day of judgement is at hand for all. Continue reading “Casting announced for Theatre Royal Bath’s Racing Demon”
A rare time that I’m holding my peace, sometimes it’s easier just to say nothing. So let’s look at some pics of Rosencrantz and Guildenstern Are Dead instead, courtesy of Manuel Harlan.
Continue reading “Photos: Rosencrantz and Guildenstern Are Dead, Old Vic”
Manchester’s Royal Exchange have announced the details for their production of Twelfth Night
which arrives this spring. It is directed by the award-winning Jo Davies
who makes her Royal Exchange debut with Shakespeare’s whirlwind comedy. Faith Omole, Kevin Harvey and Mina Anwar
return to the Exchange as Viola, Orsino and Maria, Kate Kennedy
takes on the role of Olivia and Anthony Calf
And in its own spin on the gender, identity and love issues at the heart of the play, award-winning Manchester-based transgender artist and activist Kate O’Donnell makes her Royal Exchange debut in the role of Feste, the wise observer in this foolish, lovesick kingdom. Live music from the critically acclaimed folk musician Kate Young and lap-tap guitarist Joe Gravil adds to the complexity of this intricate comedy which probes gender-politics and ideas of belonging. The play runs from 13 April – 20 May.
The cast is completed by Aaron Anthony, Simon Armstrong, Harry Attwell, Daniel Francis-Swaby, Tarek Merchant and Jill Myers. The creative team includes Designer Leslie Travers, Lighting Designer Jack Knowles, Sound Designer Pete Malkin and Composer Alex Baranowski.
Continue reading “Round-up of news and treats and other interesting things”
“You’re a liar, aren’t you”
After the success of And Then There Were None last Christmas, it was most pleasing to see another Agatha Christie adaptation on the schedule for this year. And given how good The Witness for the Prosecution was, here’s hoping that the BBC can persuade Sarah Phelps to make this a new annual tradition as it is proving to be a most fruitful creative enterprise, completely reinvigorating a genre that has arguably gotten a little too cosy, stale even.
Originally a Christie short story from 1925, later adapted into a courtroom-based play in 1953 (a version of which I saw a few years ago), the story revolves around the murder of wealthy femme d’un certain âge Emily French. The prime suspect is Leonard Vole, her lover, who we discover is a married man and who just happens to have been made the sole beneficiary of French’s will. Vole’s court case relies on the testimony of his wife Romaine but naturally, things prove not to be quite that simple. Continue reading “TV Review: The Witness for the Prosecution”
“They see what they want to see, not what they really see”
I seem to be surrounded by people who saw and loved the original production of Blue/Orange, with its extremely tasty cast of Bill Nighy, Andrew Lincoln and Chiwetel Ejiofor, and who love to tell me about it! It was however before my time (here in London at least) and so my first, and only, previous experience of the show was with Tiata Fahdozi’s all-female version at the old Arcola, with a less starry but no less interesting cast of Helen Schlesinger, Esther Hall and Ayesha Antoine.
I mention this because it is interesting to me the ways in which people’s journeys with plays are shaped by these interactions, especially when they have been lauded as modern classics. Of the eight, only two are going back to this new production at the Young Vic (it doesn’t seem to be inspiring repeat visits), and the one who has been already didn’t like it. And critics’ responses thus far stretch from Aleks Sierz reconfirming its status as a contemporary classic to Matt Trueman declaring that it hasn’t aged well. Continue reading “Review: Blue/Orange, Young Vic”
Best New Play
Farinelli and the King by Claire van Kampen – Duke of York’s
Hangmen by Martin McDonagh – Jerwood Downstairs, Royal Court / Wyndham’s
People, Places and Things by Duncan MacMillan – National Theatre Dorfman
The Father by Florian Zeller, translated by Christopher Hampton – Wyndham’s
Best New Musical
Bend It Like Beckham – Phoenix
In the Heights – King’s Cross
Kinky Boots – Adelphi
Mrs Henderson Presents – Noël Coward
Hamlet – Barbican
Les liaisons dangereuses – Donmar Warehouse
Ma Rainey’s Black Bottom – National Theatre Lyttelton
The Winter’s Tale – Garrick Continue reading “2016 Laurence Olivier Awards nominations”
“Let’s keep the party polite”
In the absence of a long-runner, the Savoy Theatre has becoming something of a receiving house – Guys and Dolls has followed in the rapturously received Gypsy, both from Chichester, and the Menier’s Funny Girl lies in wait in April. But what was interesting to see on my return to Guys and Dolls (after seeing its original run in Chichester the summer before last) is that one size does not fit all, the business of transferring isn’t quite as easy as all that.
For where Gypsy seemed to gain in intensity in the confines of the proscenium arch, Guys and Dolls feels a little constrained by it. Maybe it’s just the memory of Carlos Acosta and Andrew Wright’s explosive choreography on the openness of the thrust stage but it seemed to pop better there (he grumbled, from the rear stalls), it doesn’t benefit from the same width here at the Savoy and so some of the set pieces – as impressive as they remain – didn’t quite hit the nail on the head. Continue reading “Review: Guys and Dolls, Savoy”
“We are bound on a wheel on pain”
The first series of Penny Dreadful may not have been perfect but I really rather liked it and was glad to hear a second season had been commissioned. And when I discovered the triple whammy of Helen McCrory and Simon Russell Beale being promoted to series regulars, Billie Piper’s distracting Oirish brogue being excised and Patti LuPone appearing as a guest star, I was in heaven. Saving up the 10 episodes to binge-watch on holiday also worked well for me, ain’t technology grand!
Having established its world of gothic Victoriana, John Logan’s writing picks up some of the strands of the first series’ finale – the consequences of sometime-werewolf Ethan’s bloodbath being chased up by a tenacious policeman and Victor Frankenstein’s newest creation inspiring an unlikely love triangle. But it succeeds most by re-introducing McCrory’s Evelyn Poole as a series-long villain as the head of a witches coven and maker of some of the creepiest puppet dolls you have ever seen – it’s no secret I love her but this really is a career highlight for this most superb of actresses. Continue reading “TV Review: Penny Dreadful Season 2”
“Oh we’ll make him suffer, but will he make himself?”
This 2002 BBC2 adaptation of Crime and Punishment by Tony Marchant is a rather good bit of television – it may be a goodly while since I read Dostoevsky’s novel but it struck me as a respectful interpretation of the story, though not overly so, and one which makes the most of the televisual approach. Directed by Julian Jarrold, it employs a vivid array of camerawork – from jerky handheld work to epic sweeps of the St Petersburg location – to really capture the idiosyncrasies of the story.
Jarrold really takes us into the mind of impoverished student Raskolnikov, a man who makes a virtue of his immorality in coming up with a plan to murder an unscrupulous pawnbroker as a justifiable good deed to the world at large. Fevered dream sequences, intensely visceral interactions, we delve right into his highly disorientated state of being as he struggles to ratify his choices in the face of their impact on his friends and family and as the law encroaches in on him. Continue reading “DVD Review: Crime and Punishment (2002)”