Round and round and round we go. La Ronde surfaces again as Michael John LaChiusa’s Hello Again at the Union Theatre
“I’ve been searching high and low
For you but then
What does it matter?
It is a universal truth that you’re never too far away from some adaptation or another of Arthur Schnitzler’s La Ronde. It’s been gay, it’s been musical, it’s been gender-neutral, it’s been Hollywood, and now it is back to being musical again, with the Union Theatre’s revival of Michal John LaChiusa’s Hello Again.
LaChiusa’s adaptation sets each of its ten scenes in a different decade of the twentieth century, aiming for a broad investigation of how, if at all, love and sex have changed over the years. This also allows him to cherrypick from a much wider range of musical styles than if he’d stuck with the original’s 1890 Vienna. Continue reading “Review: Hello Again, Union Theatre”
This production of Into the Woods at the Cockpit Theatre brings it into the 21st century, not a strictly necessary move
“To have, to wed, to get, to save, to kill, to keep, to go to the festival”
One of the main reasons that fairytales have endured as long as they have is that they are timeless, their messages recited as-is at bedsides since time immemorial. Recognising this, Stephen Sondheim and James Lapine’s Into the Woods gives us a first half which takes us deep into this enchanted world as we know it and waiting until after the interval to show us what happens after happy ever after.
So the notion of updating the show to a specifically 21st-century context is an intriguing one, as director Tim McArthur draws in influences such as The Only Way is Essex, Made in Chelsea and Rab C Nesbitt. On the one hand, it offers a fresh take on well-known characters; on the other, it also provides a distracting layer onto characters that barely need it. The result is a well-performed interpretation that rarely feels essential. Continue reading “Review: Into the Woods, Cockpit”
“If love affairs you like.
With young bears you like.
Well, nobody will oppose!”
Last year’s Christmas musical at Highgate’s Upstairs at the Gatehouse – Legally Blonde – was a break from recent tradition which has seen them lovingly recreate classic Broadway musicals like Guys and Dolls, Crazy For You and Singin’ in the Rain in miniature. Though smaller in scale, Ovation’s productions have never been lacking in ambition and so I was most pleased indeed to see Cole Porter’s Anything Goes on the slate for this festive season.
And as per usual, John Plews’ distillation of the 1934 show is a thrill from start to finish, slickly directed in its traverse staging which allows both for a practical paciness and a real fluidity of movement, especially in the cleverly constructed choreography of Chris Whittaker. With plenty of tap, a whole deal of razzmatazz and some absolute corkers of a song (‘You’re The Top’, ‘I Get A Kick Out Of You’, ‘Blow Gabriel Blow’), it’s near song and dance heaven. Continue reading “Review: Anything Goes, Upstairs at the Gatehouse”