Renée Zellweger is sensational in Judy, a deeply moving account of Judy Garland’s final months in London directed by Rupert Goold
“I just want what everybody wants. I seem to have a harder time getting it.”
As if there were any doubt, Judy is a phenomenal success, and should see its star Renée Zellweger add to her tally of Academy Award nominations, if not the award itself. Loosely based on Peter Quilter’s play End of the Rainbow, it recalls the final year of Judy Garland’s life as a roll of the dice sees her decamp to London to perform in a series of concerts that she hoped would reignite interest in her career whose light was seriously fading in the US.
But years of substance abuse and the relentless ride of showbusiness have taken a serious toll, even just turning up on time proves a struggle (hard relate!) and that iconic voice can no longer be relied upon. Thus Tom Edge’s screenplay takes a slightly more realism-based approach than the play to show us the riskiness that accompanied Judy’s every step towards a stage and the slow, crushing realisation of what her life has amounted to. Continue reading “Film Review: Judy (2019)”
“This? In your chest? It can be stronger than it’s ever been”
An interesting change of tack here from Andrew Maddock, who has been steadily carving out a niche for himself in doing creative things in and around the world of monologues (qv #1, #2, #3). Opening at Balham’s TheatreN16, HE(ART) starts in a Maddockian (Maddockish? Maddockesque?) way with two separate duologues intercut with each other, and playing out at the same time. But over the running time of just more than an hour, it transforms into transgressively exciting.
Staged in the round (well, the square) in a boxing ring-like space in this production by Lonesome Schoolboy, In the one corner we have young couple Alice and Rhys doing battle over what kind of art they want to buy for their living room. And in the other, there’s siblings Kev and Sam, gearing up for an altogether different kind of conflict, characterised by the fact that the former should be in prison. Continue reading “Review: HE(ART), TheatreN16”
Having had a near-perfect experience in on the front row at Chichester for Singin’ in the Rain, I didn’t think it could be topped by visiting the London transfer – sometimes I think it is best not to go back. But listening to the cast recording released by the London cast in 2012, I’m kinda wishing that I had. It is a cracking musical whichever way you cut it but this is a brilliant record of a dazzling production that, dare I say it, I listen to just as much as the original film soundtrack.
This CD features 19 tracks, marking a slightly different tracklisting to previous theatrical productions, with most of the reprises included too. Larry Wilcox and Larry Blank’s orchestrations sound just luscious under Robert Scott’s musical direction, making the instrumentals just as vividly vibrant to listen to as the iconic songs we’ve all come to know and love and in Adam Cooper, Scarlett Strallen and Daniel Crossley’s expert hands, they are gloriously great. Continue reading “Album Review: Singin’ in the Rain (2012 London Cast Album)”
Though the temptation is strong, and the actuality may well prove so, I don’t think I will be catching quite so much theatre in 2012 as I did last year. I could do with a slightly better balance in my life and also, I want to focus a little more on the things I know I have a stronger chance of enjoying.
So, I haven’t booked a huge amount thus far, especially outside of London where I think I will rely more on recommendations, but here’s what I’m currently looking forward to the most: Continue reading “Shows I am looking forward to in 2012”
“Wishing for the normal kind of dream,
Trouble is they’re harder than they seem”
Soho Cinders is a Stiles + Drewe show which has long been in development, 11 years since the original concept was devised, during which they’ve worked on Mary Poppins, the sadly departed Betty Blue Eyes and their new show Soapdish. But all the while, this modern-day gay retelling (of sorts) of the Cinderella tale has been burbling away, some of the songs were previewed at the A Spoonful of Stiles and Drewe concert in 2008 and subsequently released on CD – one in particular, ‘(They Don’t Make) Glass Slippers’ becoming a favourite amongst young male singers, Gareth Gates being my particular favourite rendition. Having the book retweaked one more time by Elliot Davis, Stiles + Drewe decided to launch the show in a one-off concert version at the Queen’s Theatre, in an evening in support of, and maintaining their long-standing connection with, the Teenage Cancer Trust, following last year’s concert at Wilton’s Music Hall.
Our Cinderella is Robbie, a young Londoner who works as an escort in order to fund his way through law school so he can contest his mother’s will which apparently left her coffee shop to his wicked stepsisters. Our prince is James Prince, a prospective London mayoral candidate, who has a glamorous fiancée but as it turns out, has been conducting a secret affair with Robbie, although unaware of his other activities. When they are flung together unexpectedly at a fundraising party, secrets tumble out, truths are exposed and though no shoes are left behind (it’s a phone instead), the fairytale ending does not necessarily seem guaranteed. Continue reading “Review: Soho Cinders, Queens Theatre”
“Be a clown, be a clown, the whole world loves a clown”
I’m often asked what my favourite genre of theatre is and I usually make vague noises about liking all of it (farce and puppetry aside obviously) but there is no denying that the shows I truly love the most are big old-school musicals stuffed full of show-tunes and tap-dancing: sheer escapism wrapped up in cosy familiarity. I’m not entirely sure where this came from as these weren’t the shows (or films) of my childhood but this is turn has brought its own pleasures as I’ve been able to see shows like Hello, Dolly!, Salad Days and On the Town for the first time in amazing stage productions without knowing what to expect and consequently being blown away. Earlier this year, the Crucible’s Me and My Girl planted a strong marker for musical of the year but having now seen Singin’ in the Rain at the Chichester Festival Theatre, the competition is definitely hotting up.
There are similarities: the open thrust stage here, as in Sheffield, is just perfect for big expansive dance numbers, especially when they are this well-choreographed, and also able to play on an intimacy with the audience that most London theatres would kill for; and Daniel Crossley is in both, he may be in a supporting role here but to my mind, he is one of our best all-rounders, I could watch him dance for days; and they’re both ‘out-of-town’ shows, I’m not sure how much of a difference it really makes, but it is hard to shake the feeling that had they originated in London, they’d be less ensemble-oriented, less fun and more cynically post-modern. Continue reading “Review: Singin’ in the Rain, Chichester Festival Theatre”
I quite often come out of shows knowing exactly which of my acquaintances I will be recommending it to, and Once Upon A Time At The Adelphi was no exception. However, this time I decided to go again as well, such was my enjoyment of the show. You can read my original review here, but I enjoyed it just as much the second time round and still found it just as moving.
Performances throughout were just as strong, if anything the choreography was delivered with even more confidence, and it was interesting to watch it from a different seat. Despite the Union being such a small space, it was a completely different viewing experience from the side and I also quite liked the fact that I heard much more of the harmony work going on in the ensemble, without the band being right behind me as it was last time. Continue reading “Re-review: Once Upon Another Time at the Adelphi, Union Theatre”
“For tonight if we dream, the world will dream along with us”
Phil Wilmott is clearly a master at directing large casts in tiny spaces and combined with Andrew Wright’s amazingly precise choreography, conjures more energy and life in the intimate space of the Union Theatre on a shoestring here with Once Upon A Time at the Adelphi than I saw at any point during that other show that I saw at another Adelphi recently. A Christmas Carol also by Wilmott and also produced by MokitaGrit, filled me with a whole Santa’s sackful of festive cheer and they are obviously doing something right as this show filled me with the joys of spring, even on this bitterly cold March evening.
A huge success with its run in Liverpool, picking up some big awards along the way, this is the London premiere although the programme talks ominously of this being the final chance to see the show. It’s an old-fashioned love story, albeit one set in two different timezones, set against the backdrop of the Adelphi hotel in Liverpool, a venue that capitalised on its location as a major transatlantic port in providing an ideal stopping point for Hollywood stars en route to more glamorous locations. We follow Jo and Neil in the present day as he tries to tempt her into backpacking round Japan with him and Alice and Thompson in the 1920s and 30s with their on-off romance being constantly challenged by events and circumstances seemingly out of their control. Continue reading “Review: Once Upon A Time At The Adelphi, Union Theatre”