BEST FEMALE PERFORMER AWARD:
Marisha Wallace as Effie in Dreamgirls
Natalie Kassanga, as Diana Ross in Motown the Musical
Patsy Ferran as Alma in Summer and Smoke
Jodie Steele as Chandler in Heathers
BEST MALE PERFORMER AWARD:
Jonny Labey, as Scott in Strictly Ballroom
John Pfumojena, as Okot in The Jungle
Kyle Soller, as Eric Glass in The Inheritance
John McCrea, as Jamie in Everybody’s Talking About Jamie Continue reading “Nominees for the 8th annual Mousetrap Awards”
I have a mixed time with some shaken-up Shakespeares – othellomacbeth at the Lyric Hammersmith; Twelfth Night at the Young Vic; Much Ado About Nothing at the Watford Palace; and Measure for Measure at the Donmar
“Condemn the fault and not the actor of it?”
I’m the first to say that modern adaptations of Shakespeare need to do something different to justify their place in today’s theatre ecology. Lord knows there’s been enough traditional renditions of his work, and still they come, and even if there are always going to be people coming for the first time, there’s also a real need to make his plays speak to contemporary society in a way that is unafraid to challenge his reputation. It is perhaps no surprise that it is female directors and directors of colour who are at the forefront of doing just that and there have been four key examples in London most recently – Jude Christian’s othellomacbeth at the Lyric Hammersmith, Kwame Kwei-Armah and Shaina Taub’s Twelfth Night at the Young Vic, Brigid Larmour’s Much Ado About Nothing at the Watford Palace and Josie Rourke’s Measure for Measure at the Donmar.
And of course, having demanded that this is what directors do, I found myself disappointed at the majority of these, for some of the same reasons and some different ones too. Perhaps the most formally daring is Christian’s othellomacbeth which smashes together the two tragedies to create something which ends up less than the sum of its constituent parts. Its intentions are certainly noble, seeking to highlight the female voices in these plays and give them prominence. But the reality is that in the two substantially reduced treatments here, everything becomes diminished, not least narrative clarity. There’s one cracking idea which connects the two, which you suspect might have inspired the whole production, but ultimately, it is not enough to hang the whole thing on. Continue reading “Blogged: shaking up Shakespeare”
“Children who refuse to learn will not return”
I only actually got round to seeing the ‘new’ musical version of Mary Poppins a couple of years ago at the Curve in Leicester, ahead of its mammoth tour, and so the novelty of finally seeing it onstage distracted me a little from the finer details of the score, which merged the original of Robert B Sherman and Richard M Sherman with new songs and arrangements from George Stiles and Anthony Drewe.
And listening to it a couple of times, I think I find myself slightly less enamoured of the interventions. That’s not to detract from the quality of the performances – Laura Michelle Kelly makes for a vibrant Mary, Gavin Lee a perky Bert, and the supporting cast is blessed by the likes of David Haig and Linzi Hateley as the Banks, Rosie Ashe as the nefarious Miss Andrew and Jenny Galloway, Melanie La Barrie, and Claire Machin too. Continue reading “Album Review: Mary Poppins (2005 Original London Cast Recording)”
Stick it in your fam’ly album”
With Half A Sixpence due to close in the West End in exactly one month, I thought now was as good a time as any to give the Original Cast Recording a listen. The show has built up quite the devoted following in its lifespan but for me, in both its original Chichester production and the subsequent transfer to the Noël Coward, it was a musical that I liked rather than loved, the balance not quite right with all the magic in the second half.
And listening to the show simply reminded me of how I felt. Stripped of its extraordinary physicality, Charlie Stemp’s chirpy chappy routine is surprisingly quite wearisome to listen to from the outset. The sentiment of the opening title track proving cloying and the lack of any killer new tunes from Stiles and Drewe before the interval leave the score sounding solid rather than spectacular, I still can’t hum you a single track save ‘Half A Sixpence’ itself. Continue reading “Album Review: Half A Sixpence (2016 London Cast Recording)”
“I’d let him strum my banjo”
It was no surprise to discover that Half A Sixpence would be transferring into the West End – its run at Chichester Festival Theatre was a huge success (you can read my review here) and with Cameron Mackintosh on producing duties, it was always going to be a case of when rather than if. It’s a slow-burner of a show, the second act really is the business thanks to Andrew Wright’s choreography and as it opened at the Noël Coward Theatre last night, you can now read my 4 star review for the transfer over at Cheap Theatre Tickets here.
Running time: 2 hours 45 minutes (with interval)
Booking until 11th February
“Don’t forget your banjo”
Take a deep breath… the 1963 musical Half A Sixpence by Beverley Cross and David Heneker, based on the HG Wells novel Kipps: The Story of a Simple Soul, has been adapted anew for Chichester audiences with Julian Fellowes writing a fresh book and George Stiles and Anthony Drewe adding new music and lyrics to Heneker’s original songs. And because Cameron Mackintosh is Cameron Mackintosh, he gets a co-creator credit.
Originally written as a star vehicle for Tommy Steele, Half A Sixpence is the story of Arthur Kipps, an orphan who dreams of a better life whilst earning a pittance as a draper’s assistant in Shalford’s Bazaar, Folkestone. An unexpected bequest thrusts a fortune into his hands but his meteoric rise in society leaves him conflicted about his place in life as his heart is pulled between two very different young women (and a banjo). Continue reading “Review: Half A Sixpence, Chichester Festival Theatre”
“Fistulas, fistulas, always the fistulas”
Previously seen in an earlier incarnation as Dickens Unplugged, Dickens Abridged is a shorter, sharper “high-speed comic sprint through Dickens’ greatest hits.” If the format seems a little familiar, then it should come as no surprise that writer and director Adam Long is one of the founding members of the Reduced Shakespeare Company and it is the same frenetic energy and absurd humour that he brings to this 90 minute show which sweeps through the life and works of this literary genius.
The show works best when its 5-strong company are freewheeling merrily through its rapid-fire comedy. Purists may blanch but to hear the plots of Bleak House and The Old Curiosity Shop encapsulated in four-line ditties, likewise Little Dorrit in a musical limerick and Great Expectations covered in a quick-change routine is breathlessly hilarious. Long’s undoubted skill of creating a witty précis of even the most convoluted of plots is adroitly observed and with this talented cast of actor-musicians on fine form, it’s a winning combination. Continue reading “Review: Dickens Abridged, Arts Theatre”
“It’s hard to tell the gay guys from the straight”
Technically speaking, Soho Cinders is a new musical. But given that some of the songs were first premiered at a Stiles + Drewe concert and subsequently released on CD and that the musical itself received a concert presentation late last year, it feels more like the return of an old friend. Though in the way that you can’t always control when friends come back into your life, this fable-like gay retelling of the Cinderella story was booked into the Soho Theatre in the middle of the summer.
Cinderella here is Robbie, a law student who works as an escort on the side and his Prince Charming is James Prince, a bisexual candidate in the London Mayoral race with whom he has been carrying out a clandestine affair. Anthony Drewe and Elliot Davis’ book retains much that will be recognised, like ugly stepsisters, but has also taken a bit of a spin on things, Buttons has become Velcro, the carriage becomes a Boris bike and the story has generally been modernised to cover the world of politics and sex scandals. Continue reading “Review: Soho Cinders, Soho Theatre”
“Never miss an opportunity to theatricalise”
The obvious place to start with this review of Terrence McNally’s play Master Class is to take note of the fact that following Sharon Gless’ turn in A Round-Heeled Woman, it is now Tyne Daly’s turn as she reprises her Broadway performance as Maria Callas here. But even as it now means that I’ve seen both Cagney and Lacey on the stage, I have never actually seen an episode of Cagney and Lacey! A Round-Heeled Woman has now finished but as Master Class starts up its limited run at the Vaudeville Theatre (this was a preview), I have no hesitations in totally recommending booking for this fabulous show.
Initial signs were not encouraging as Daly’s first arrival on stage was met with rapturous applause, a personal bugbear but something more is going on as the fourth wall was immediately dismantled and it becomes apparent that we in the audience are actually playing a part in the show. Based on a series of master classes that renowned opera singer Maria Callas actually held at Julliard in the 1970s, we see three students present their efforts for deconstruction by the great diva and by golly does she deconstruct. And we are acknowledged as the audience watching the master class, Callas jokes with us, hectors and exhorts us to embrace her every word and generally folds us into proceedings in the most engaging of manners. Continue reading “Review: Master Class, Vaudeville”