“If I present an educated pooch
Who’s trained to dance the hoochie cooch
What better way to waste a bit of time”
We’re so used now to the big Chichester musicals making the automatic leap into the West End that it was something of a surprise to hear that last year’s Barnum would not be getting the much-rumoured transfer even with less than stellar reviews. And seeing the show for the first time tonight in its retooled version – Jean Pierre Van Der Spuy directing an adaptation of Timothy Sheader and Liam Steel’s CFT production – which is heading out on a very extensive UK tour that stretches to next August, it is not hugely difficult to see why, if one looks at it with a coolly dispassionate eye.
Mark Bramble’s book has showman PT Barnum following his dreams to put on the world’s first travelling circus but little dramatic impetus to form a more interesting narrative journey. And Cy Coleman’s score with Michael Stewart’s lyrics has some pleasant enough songs in it – ‘Come Follow The Band’ and ‘There’s A Sucker Born Every Minute’ – but it also has a lot of filler; for such an ambitious show, it is a rather bland musical experience. Fortunately it is also blessed with some game-changing visuals and Andrew Wright’s peerless (certainly for his generation) choreographic gifts. Continue reading “Review: Barnum, New Wimbledon”
“Step, kick, kick, leap, kick, touch…again!”
When I was learning to play the piano as a young’un, we had a book of tunes from the movies which included ‘One’ and ‘What I Did For Love’, both from A Chorus Line. I’d never seen the film (and still have not) but I loved both of those songs and so practiced hard to be able to play them well. But even when a new production of the show was announced earlier this year, the temptation to go and see it was never too strong. Part of that came from the venue – the Palladium is a most unforgiving of theatres if you don’t have a front centre stalls seat – but there was also a sense that its conglomeration of backstage stories might be a little dated in a world where the audition process has repeatedly been laid bare on our television screens.
I perhaps wasn’t alone in feeling this way as the production was forced into publishing early closing notices, meaning it shutters at the end of this week. But in forcing my hand and making me book via a bargainous deal that got us into the middle of Row C of the stalls, I belatedly came to realise that the show is much better than I thought it would be and perhaps deserves a longer life than it has had. Its set-up is simplicity itself – seventeen Broadway dancers audition for eight spots on the chorus line for a musical and as the director takes them through their paces, we get to hear the tales of these hopefuls, their dreams and aspirations, their fears and frailties, in some cases their most intimate stories about what dance and being a dancer means to them. Continue reading “Review: A Chorus Line, Palladium”
“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”