The finalists of The Offies 2018

The finalists of the The Offies 2018 have been announced and as ever, there’s much of interest there, in the choices made and the breadth of Off West End theatre celebrated. Play-wise, I’m delighted at the love for The Revlon Girl and An Octoroon here, nice to see the Bunker’s Eyes Closed Ears Covered rewarded too, plus Will Pinchin’s work in Frankenstein.
 
With the musicals, I’m not down with the love for Promises Promises, an ill-judged revival that added nothing to the conversation (and even less in these #MeToo times) and I’m disappointed that none of the boys of Yank! were recognised. The rest of the Southwark Playhouse’s spectacular year does get the appropriate plaudits though, with Superhero, The Life and Working all getting multiple nominations.
 
And lastly, at times it can seem like all you have to do is sing in your bathroom and you get an Offie nomination 😉 so it is interesting to see how the numbers break down, albeit somewhat vaguely. These 80 or so finalists have apparently been whittled down from over 350 nominations from over 190 shows – there’s clearly just a lot of Offies love to share. Should you wish to join in said sharing at the IRL award ceremony on Sunday 4th March at The Albany, Deptford, you can buy tickets here.

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Review: Promises Promises, Southwark Playhouse

“That’s what you get for all your trouble”

On the face of it, you could see why reviving Promises Promises would be an appealing prospect – written by Neil Simon from a Billy Wilder film and featuring a score by Burt Bacharach and Hal David. But digging even just a little deeper – a running time of nearly 3 hours and an antiquated set of gender politics made it a tough one to watch, and an even tougher one to excuse in today’s society.

If you were so inclined, you could argue that Billy Wilder and I.A.L Diamond’s original screenplay for the 1960 film The Apartment is “a triumph of 1960s sexual work-place politics” but quite what that has to say to audiences today is very unclear, (apart from gentlemen d’un certain âge craving the good old days natch). I have liked much of director Bronagh Lagan’s previous work but I can’t help pondering the choice here. Continue reading “Review: Promises Promises, Southwark Playhouse”

Review: Miss Atomic Bomb, St James

“That’s just the fallout people”

Atomic bombs derive their destructive power from nuclear fission, when atoms split after being bombarded with other particles, and there’s a certain sense of random elements being thrown together in Miss Atomic Bomb, in the hope of reaching some kind of critical mass. Comedy gangsters, tap-dancing routines, comedy bank managers, dead sheep, comedy zucchini, pigs in clothes, comedy transvestites, hoedowns, comedy rabbi costumes, a Strallen and a character with a ridiculous surname because you can get a song out of it. Put them altogether and what do you get? A show that’s either a bomb or a blast.

Full disclosure, I saw a preview and I’m given to believe that a lot of work has happened to the show in the last couple of days, which is only natural for a new musical. For me though, the show feels fundamentally flawed in really not knowing what it wants to be. Writers Adam Long, Gabriel Vick and Alex Jackson-Long throw together satire and slapstick uneasily as a desperate Las Vegas hotel manager arranges the Miss Atomic Bomb beauty pageant to drum up tourist trade as the US military test their atomic arsenal in the Nevada desert. Continue reading “Review: Miss Atomic Bomb, St James”

Review: Once, Phoenix

“Raise your hopeful voice, you have a choice”

Unusually for a West End musical, Once gently pulses rather than powerhouses its way into the affections, beating very much to its own unique rhythm with a sublimely sensitive story of the power of music and the pain of untimely love. From the working bar on stage that welcomes the audience into the auditorium of the Phoenix with a makeshift ceilidh to the presence of quality names like Enda Walsh and John Tiffany, it is immediately clear that this is no ordinary film-to-stage transfer.

Augmented and adapted by Walsh, the book covers the brief but intense journey of a guy and a girl, named Guy and Girl, who connect strongly but find that what they can sing to each other, they cannot say once the music has stopped. He’s a busking vacuum cleaner repairman missing his girlfriend in New York, she’s an unhappily married Czech mother searching for purpose and when she spots his potential, starts up a project to get him to record a demo but their feelings soon threaten to pull them onto the cusp of new possibility.  Continue reading “Review: Once, Phoenix”

Film Review: Les Misérables

“Life has dropped you at the bottom of the heap”

For many people, myself included, it is nigh on impossible to approach a film version of stage behemoth Les Misérables with a blank slate. It’s been a mainstay of the musical theatre world since its 1985 London debut – it is most likely the show I have seen the most times throughout my lifetime – and after celebrating its 25th anniversary with an extraordinarily good touring production, has been riding high with a revitalised energy. So Tom Hooper’s film has a lot to contend with in terms of preconceptions, expectations and long-ingrained ideas of how it should be done. And he has attacked it with gusto, aiming to reinvent notions of cinematic musicals by having his actors sing live to camera and bringing his inimitable close-up directorial style to bear thus creating a film which is epic in scale but largely intimate in focus.

In short, I liked it but I didn’t love it. I’m not so sure that Hooper’s take on the piece as a whole is entirely suited to the material, or rather my idea of how best it works. Claude-Michel Schönberg’s score has a sweeping grandeur which is already quasi-cinematic in its scope but Hooper never really embraces it fully as he works in his customary solo shots and close-ups into the numbers so well known as ensemble masterpieces.  ‘At The End Of The Day’ and ‘One Day More’ both suffer this fate of being presented as individually sung segments stitched together but for me, the pieces never really added up to more than the sum of their parts to gain the substantial power that they possess on the stage. Continue reading “Film Review: Les Misérables”

Review: Chariots of Fire, Gielgud

“100 metres can feel like a marathon”
For the longest time, I was sure that I didn’t want to see Chariots of Fire, not least because the hoarding for this Hampstead Theatre transfer into the Gielgud finds it necessary to call it Chariots of Fire on stage, as if it could be anything else in a theatre. But Mike Bartlett, who adapted the film, is a writer I like and a change of cast meant Gabriel Vick, an actor whose charms I, erm, appreciate, was able to tempt me there on the final day of the (curtailed) run. The most arresting aspect of Edward Hall’s production is Miriam Buether’s design which snakes a running track around the front stalls and puts audience members on the stage – it makes for constant visual interest and not just for the men in shorts.
As a story set around the Olympics (Paris 1924), when the production was first announced it felt like a bit of a cash-in to the upcoming Games (London 2012) and sure enough, a West End transfer was announced even before it began. And to be honest, I’m not sure that it really stood up as a piece of effective theatre when separated from all the 2012 buzz. I’ve never seen the film so I wonder if this had an impact, but essentially the thrill of having athletically performed athletic races aside, it was rather dull.

The rivalry between two British runners – religious Scot Eric Liddell, played with fervent defiance by Jack Lowden and James McArdle’s first-generation Lithuanian immigrant Harold Abrahams – never really takes off dramatically as it is largely implicit, rather than actualised (the pair are rarely together). The whirl of supporting characters get so little stage time that very few of the fine actors onstage get the opportunity to make an impact and I wasn’t a fan of the way in which the action sequences were blended, or otherwise, with the dramatic scenes, too often the transitions felt painfully obvious. 
Using the famous music, written by Vangelis, also didn’t really work for me. It’s a no-brainer in the end and the oohs and aahs of recognition from the audience around me clearly showed that it was the big money note they’d been waiting for but it felt so unsubtle, so bolted onto the production that it just didn’t connect with the whole. So I should have listened to my instincts in the first place! 

Running time: 2 hours 45 minutes (with interval) 
Booking until 5th January

Leading Man of the Year 2011

In lieu of Mr Cowan’s (twice winner of this category) highly unfortunate ineligibility (due to the fact I haven’t seen him onstage this year), I was toying with the idea of renaming this award along the lines of The Elliot Cowan Award for Hotness, (cue bonus pic) 
but thought better of it. In any case, I present to you the winner, and then the 9 runners-up in no particular order of the men (so many of whom called Dominic) who made going to the theatre so much, somewhat less of a trial. This has also regularly been one of the most popular posts I do each year, shame on us all!

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Review: Ex, Soho Theatre

“Go now, before someone starts singing”

The critical word about the Soho Theatre’s new musical Ex was shockingly bad in several places, there was even a little petty Twitter spat between one of the reviewers and the writer, Rob Young. I’m not one to be too easily swayed by the opinions of others but my lack of enthusiasm was down to the last minute withdrawal of one of the lead actors – the yummy Gabriel Vick – due to a broken foot (though given the show’s reception, one can’t help but wonder if a little self-sabotage crept in…!). Nonetheless, I made it along at the end of the run, and due to the strength of reaction against it, ended up finding it not that bad.

To be sure, it is not a strong show, but I couldn’t see what had provoked such opprobrium. The show is aiming for the play with songs genre rather than calling itself an outright musical, which always seems an odd choice for me – has anyone ever said I will never see a musical, but I would see a play with songs… – Young’s play is combined with songs by Ross Lorraine as we look at the tangled relationships of two couples. Jack and Ruby used to be lovers but find themselves drawn back together even though both have moved onto new partners. Ruby is about to leave for the US to be with her new dentist paramour but nips into Jack’s bar for a final goodbye and to get some closure after he broke her heart and so as history is revisited and sparks fly, the four protagonists do battle. Continue reading “Review: Ex, Soho Theatre”

Re-review: Hamlet! The Musical, Richmond

“You can’t make a Ham-e-let without breaking some eggs”

I always tend to write less about shows the second time I see them, but in this particular case there is even less than usual as it was only three days since I saw Hamlet! The Musical. But with no future plans for the show currently confirmed and one of the funniest experiences in a theatre thus year so far, it didn’t take much convincing to make me journey back over to Richmond for second serving of Danish delight.

My original review is here and unsurprisingly there’s no change in my response to the show, other than to say it stood up to a second viewing extremely well even so close to the first time, it still got the laughs (and I was probably that annoying guy who was giggling in advance of the funnier jokes) and generated a huge warmth from the audience once again. Continue reading “Re-review: Hamlet! The Musical, Richmond”

Review: Hamlet! The Musical – Richmond Theatre

“When I think about Denmark and the way things used to be”

It’s Hamlet, but not as you know it. Originally an Edinburgh Festival hit in 2001, returning in 2010 and now developed under the auspices of the Royal & Derngate to a fully fledged hour and three quarters production, Hamlet! The Musical takes a delightfully irreverent look at this Shakespearean classic in an adaptation that is highly inventive, supremely silly and one of the funniest things I have seen this year.

Where it succeeds is in some really sharp writing, there are plenty of genuine laughs in here alongside the broader comedy, and the engagement of a highly enthusiastic and talented cast of familiar faces. Jack Shalloo’s (recently very good in The Kissing Dance) daft teenager with stars in his eyes makes a very appealing leading man and Mark Inscoe’s (huge amounts of fun in Salad Days) doubling as an Elvis-inspired ghost and a devilish Claudius were both excellently good. Continue reading “Review: Hamlet! The Musical – Richmond Theatre”