Some seriously big names – David Walliams and Robbie Williams – can’t save the RSC’s new musical The Boy in the Dress at the Royal Shakespeare Theatre
“Don’t eat my cheese”
There’s no lacking for big names behind the RSC’s big new musical The Boy in the Dress. Based on the novel by David Walliams and adapted by Mark Ravenhill, and with a score by Robbie Williams, Guy Chambers and Chris Heath, the pedigree is certainly there in this story about Dennis, a young football-crazy boy who decides, one day, that he’d quite like to go to school wearing a dress. But Gregory Doran’s production ends up hitting the crossbar – literally so… – and it is a little difficult to work out exactly why.
Is it in Walliams’ book, where absent mothers get entirely short shrift (as do most women, the character of Darvesh’s mum, who even gets a song, is called…Darvesh’s mum) and notions about celebrating difference only go so far – it’s OK for boys to wear dresses and win football matches, but if you buy a copy of Vogue, then you’re the target for homophobic jokes in the script. Or is it in the score which is full of strangely low-impact numbers, until an Indian man appears – cue the Bollywood song! Or someone puts on a dress – cue the disco number! It can feel that there’s not much sophistication at work here. Continue reading “Review: The Boy in the Dress, Royal Shakespeare Theatre”
A trio of album reviews cover the (relatively) recently released cast recordings of Company, Follies and Mythic
“One more souvenir of bliss”
I adored Marianne Elliott’s reinterpretation of Stephen Sondheim and George Furth’s Companyon my many visits and so the news of a cast recording was of course ecstatically received. And perhaps inevitably it doesn’t quite live up to the thrill of seeing it live but maybe that’s because the production is still so fresh in my mind. I mean we’re only talking a 4 instead of a 4.5…
I swear Patti LuPone’s ‘Ladies Who Lunch’ was different every time I saw it but this version here is as good as any, with the glorious fullness of her voice pointedly sharpening its wit. Her contributions to ‘The Little Things We Do Together’ are inspired, Jonny Bailey’s ‘Not Getting Married’ is breathlessly affecting and the warmth of Rosalie Craig’s character and voice infuse the whole experience with real quality. Continue reading “Album Reviews: Company / Follies / Mythic”
Greek mythology goes pop with appealing new musical Mythic at the Charing Cross Theatre
“Step away from the pomegranate”
As we wait for Hadestown to arrive at the National Theatre, an alternative modern musical take on Greek mythology has emerged just across the river at the Charing Cross Theatre. Marcus Stevens and Oran Eldor’s Mythic may have a rather unassuming demeanour by comparison, but it is proves to be something of a gently Olympian success from director/choreographer Sarah O’Gleby. (FYI I caught a late preview of this).
Stevens’ book focuses on the troubled mother/daughter relationship between earth mother goddess Demeter and rebellious teen Persephone. Demeter has rejected the hard-partying celebrity lifestyle of the gods in favour of her Mother Nature ways but Persephone wants nothing more than to drop the trowel and kick it up good with the likes of the Essex-style Aphrodite and an emo Hades. Continue reading “Review: Mythic, Charing Cross Theatre”
“Although we’re armed with many prickles They’re no match for large vehicles”
The Wind in the Willowstook quite the critical battering when it opened at the Palladium last month and whilst it may not be the greatest show in the world, it does feel to have been a rather harsh treatment (I quite liked it for what it was). I’m not entirely sure what critics thought they were going to get from this revival of Kenneth Grahame’s classic story but it was clearly a darn shot edgier than anything Julian Fellowes and composing duo Stiles and Drewe were ever going to create.
Listening to the Original London Cast Recording which has now been released, you very much get a sense of the gently bucolic charm that they were aiming for and which, by and large, they achieve. Their strengths lie in the grand musicality of the ensemble numbers that pepper the score at its key moments. The cumulative choral power of ‘Spring’, the irrepressible energy of ‘We’re Taking Over The Hall’, the thrill of the fun-loving finale – this what they do so well. Continue reading “Album Review: The Wind in the Willows (2017 Original London Cast Recording)”
Arriving at the London Palladium just in time for the summer holidays, new family musical The Wind in the Willows (seen on tour late last year) is a respectfully traditional treatment of the Kenneth Grahame classic with which so many are familiar. And with kings of musical theatre nostalgia Stiles & Drewe on composing duties, Rachel Kavanaugh’s production is clearly the kind of show that wants you to wistfully remember childhoods past.
Julian Fellowes’ book undulates gently rather than creating any particularly dramatic waves – Rat and Mole’s growing friendship is quietly but effectively done, Toad is characterised as a Boris Johnson-like would-be-lovable-rogue, and the biggest ripples of the first half come in the introduction of various creatures of the forest – like an Andrews Sisters-esque trio of sonorous swallows and an enormously cute family of hedgehogs. Continue reading “Review: The Wind in the Willows, London Palladium”
Messrs Stiles, Drewe and Fellowes clearly have an affinity for working with each other as hot on the heels of Half A Sixpence, about to open in West End after a successful run in Chichester, comes another collaboration on a musical version ofThe Wind in the Willows. Destined for an as yet unconfirmed West End residency, it is currently touring from Plymouth to Salford and then on to Southampton, spreading its gentle, pastoral charms across the UK.
And its charms are gentle, befitting any iteration of the beloved children’s novel by Kenneth Grahame. Julian Fellowes’ adaptation is faithful to that story and though the scale of Rachel Kavanaugh’s production is suitably large, it is also refreshingly simple. Peter McKintosh’s design is atmospheric but uncomplicated, playful rather than epic in its idyllic evocation of the British countryside, ably assisted by Aletta Collins’ languid choreography. Continue reading “Review: The Wind in the Willows, Theatre Royal Plymouth”