On the two viewings I’ve managed so far, I’m pretty sure Mamma Mia! Here We Go Again is the epoch-defining film that we don’t deserve but which we sorely need
“When you’re gone
How can I even try to go on?”
I was lucky enough to see an early screening of Mamma Mia! Here We Go Again last week and I thought it was fricking fantastic. But as the occasion fuelled by an afternoon tea that was heavy on the bubbles and the raucous atmosphere of a stagey audience and not quite bold enough to stick by the courage of my convictions, I opted to wait until seeing the film a second time before officially declaring my opinion.
And I have to say I really do think this is a superb film. The sequel that no-one really knew they wanted, whipped together in under 12 months once the green light had been given, that somehow manages to do everything you expect it to, and but better, and infinitely more moving than it has any right to be. I knew I’d shed a tear or three of joy but there was more than one moment where I was just sobbing, so rich is the emotion here. And that’s only fitting considering the bittersweet melancholy that is ABBA’s true calling card, rather than the cheesiness they are famed for. Continue reading “Film Review: Mamma Mia! Here We Go Again (2018)”
“I’m mad as hell, and I’m not going to take this anymore”
With Network, Lee Hall’s adaptation of Paddy Chayefsky’s 1976 film, Ivo van Hove re-asserts his place as one of the premier theatremakers working, anywhere. A satire that managed to predict just how powerful a tool populist anger can be when leveraged effectively, it is transformed into the immersive bustle of a TV studio, that of UBS Evening News where old hack Howard Beale – a transcendent performance by Bryan Cranston – has been handed his notice. Though initially appearing to accept it with good grace, he causes an almighty media stir when he declares, on air, that he’s going to kill himself, triggering a most unlikely rebirth as a truth-spilling ‘prophet’.
And as ever, van Hove and designer Jan Versweyveld challenge our notions of theatrical space and how it is used. An onstage restaurant puts (some) audience members right in the thick of the action, the fourth wall gets well and truly shattered, and the use of live video and big screens forces us into the role of active observers – as Beale goes live on air, do you watch Cranston himself, do you watch him onscreen, do you watch the team observing him from the producers’ box…the multiplicity of perspectives reminds us how easy it is to manipulate media, how there can always be other sides to the story. Continue reading “Review: Network, National Theatre”
“Come see the show,
She will neither know nor care”
It is always fascinating to listen to the cast recordings of shows that are regarded to have flopped, to see whether the writing was always on the wall or if some reason was responsible for the magic not happening. Lasting just four months at the Theatre Royal Haymarket in 2008, Marguerite is one such musical, despite (or maybe because of) the weight of expectation behind its writing team.
With a book by Alain Boublil, Claude-Michel Schönberg and Jonathan Kent (from the the Alexandre Dumas, fils’ novel La Dame aux Camélias) lyrics by Alain Boublil and Herbert Kretzmer, and music by Michel Legrand, the demands on these Gallic grandees were nothing short of recreating the exceptional success of Les Misérables (on which Boublil, Schönberg and Kretzmer collaborated) but it wasn’t to be. Continue reading “Album Review: Marguerite (2008 Original London Cast Recording)”
“We had such hopes…”
To celebrate its 25th anniversary, The Phantom of the Opera decamped to the Royal Albert Hall for 3 performances, the highlights of which were spliced together to give a full CD/DVD release package which contains as full a rendering of the entire score as it currently available. Maybe it was a rush job though as the sound quality on this CD really isn’t good enough for it to be genuinely recommendable, even for a live recording.
I also had mixed feelings about the production itself. I just can’t get on with Sierra Boggess’ voice, her soprano voice always erring to the too shrill for my liking and the vibrato she employs has all the subtlety of a jackhammer. Christine isn’t the strongest-written of roles at the best of times and Boggess just feels too emotionally vapid to be the inspiration of such all-conquering adoration as she is served with in this story. Continue reading “Album Review: The Phantom of the Opera at the Royal Albert Hall”
“Did you come here for a pie sir?”
Tucked away in an unassuming side street in Tooting, Harrington’s Pie and Mash shop has incredibly been serving the locals for 106 years – a venerable local institution and now the location for a strikingly unique interpretation of Sondheim’s masterly Sweeney Todd. With room for just 32 inside, Bill Buckhurst’s production for Tooting Arts Club is shockingly intense, literally so given the constricted space and the predilection of the performers to jump up on the tables, get right in our faces or even rub a dab of some hair tonic in the case of one noted critic- this sure ain’t for the fainthearted.
As the company of eight command us to attend the tale of the demon barber of Fleet Street (well, Selkirk Road actually!), there’s no escaping the compact world that they create but it is hard to imagine that you’d want to. It’s like a concentrated shot of musical theatre perfection, the operatic scale of the show distilled into an almost personal experience and led by the magisterial, menacing presence of Jeremy Secomb’s Sweeney whose eyes bore unblinkingly into the very soul, the intelligence of this immersive production shines throughout.
Not only allowing Secomb to verbally and vocally accost us up close and personal, the intimacy of the venue also works perfectly in suggesting Todd’s delusions of grandeur. One perfectly realised moment sees him leap on to a table, dramatically uplit by Amy Mae Smith’s highly theatrical lighting for a grandstanding finale to a song, only for the mood to be brilliantly punctured by an unconvinced Mrs Lovett who is just the other side of the counter, sweeping up offcuts with a sceptical raised eyebrow. Siobhán McCarthy is just marvellous in the role, wryly comic and passionately forthright, she sounds like a (twisted) dream and looks stunning.
Continue reading “Review: Sweeney Todd, Harrington’s Pie and Mash Shop”
Visit number two for me to La Cage aux Folles at the Playhouse Theatre for a number of reasons. My first trip earlier this year was an absolute hoot but perhaps a little more wine-soaked than was advisable, I wanted to surprise Aunty Jean with a fun night out (as opposed to the previously advertised Aunt Dan & Lemon) and finally I wanted to see Philip Quast and Roger Allam as I had heard great things about their performances. I saw Douglas Hodge and Denis Lawson in the main roles last time, and could not imagine them being bettered, such was the quality of their ‘turns’.
However I am pleased to say that Allam and Quast were equal to the task, and I think I might even actually have preferred these two. The key to this musical is that it is actually the sweetest love story between Albin and Georges and so the relationship between the two has to be spot on and I think this is where they edge it this time. There’s such a great sense of shared romance onstage and the two actors are so comfortable with each other, you can really believe that they have spent a lifetime together.
Continue reading “Re-review: La Cage aux Folles, Playhouse”
I saw La Cage aux Folles last Friday, and so was lucky enough to see the penultimate performance with the original cast, and no disrespect to the incoming performers, I am extremely glad for that since it was good to see the production people have been recommending for ages now and this was probably the most fun I have had in the theatre in such a long time.
That may have had something to do with the insane amount of wine me and my friend Julia drank in lieu of eating dinner, but the show really was excellent (from what I remember). The big bouncing balls were good fun; les cagelles were beyond excellent, eye-wateringly so at times during the splits; Douglas Hodge was superb throughout, just the right side of camp buffoonery yet still real enough for Jean-Michele’s misguided decision to have real emotional impact; the cabaret tables were a genius idea, though I imagine a little frightening to sit at.
Continue reading “Review: La Cage Aux Folles, Playhouse”