Just the one more trip to see the glorious Company at the Gielgud Theatre before it sadly depart
“You can’t stay in your thirties forever”
I went back, again. Well I had to, at least while the above quote is still true for me for a couple more months. There’s not much left to say about Company that I haven’t said already here, or here, or here and it remains an absolute pleasure to watch, a show I could sit through time and time again even more so than I have already. It will be very much missed.
And I do think it really has gotten better as the run has progressed, performances deepened and matured, but also deliciously playful – I swear the magnificently brassy Patti Lupone has done something different every single time and it has been wonderful for it. It will be fascinating to see how Marianne Elliot’s production fares on Broadway and who, if anyone, transfers with it. Continue reading “Yet-another-re-review: Company, Gielgud Theatre”
I can’t keep away from Marianne Elliott’s award-winning Company, and it richly repays the rewatching
“A festive atmosphere pervades the room”
Hot on the heels of its double Evening Standard-award winning weekend, Company remains in sparkingly good form. And from the seats in the dress circle box (a bargainous £20 if you can find ’em), the slightly restricted view matters not a jot as the extreme proximity means you have something of the intimacy of watching a show at the Donmar. Which in a show of this quality means that there’s all sorts of detail that you can see, which isn’t immediately apparent from the back of the stalls.
Some of my key revelations from this visit (not necessarily restricted to things that we discovered by being close) : Continue reading “Re-re-review: Company, Gielgud Theatre”
As if you needed more convincing, here’s another 5 star review of this superlative re-imagining of Sondheim’s Company
“Everything’s different, nothing’s changed.
Only maybe slightly rearranged”
From the moment Marianne Elliott’s new production of Company started, I knew that it wouldn’t be something I only saw once. Indeed, by the time we’d reached press night, that was my third time at the show! And now that an extension through to the end of March has been announced, there’s never been a better time to get booking. Read my 5 star review of Company for Official Theatre here.
Running time: 2 hours 40 minutes (with interval)
Photo: Brinkhoff Mogenburg
Company is booking at the Gielgud Theatre until 30th March
The company of Company are simply sensational at the Gielgud Theatre – Rosalie Craig, Patti LuPone, Jonny Bailey…just book now!
“Everyone adores you, what an awful thing”
Phone rings, door chimes, in comes an adaptation of Company that subtly but definitively realigns it for a contemporary audience and makes you wonder how you could ever go back to the original as is. Marianne Elliott’s reworking is most notable for the regendering of its lead character – Bobby becomes Bobbie in the extraordinary hands of Rosalie Craig – but the changes it makes filter right down through the show, reflecting the changes in society since the show was written in 1970.
Sometimes it is overt. Amy becomes Jamie here, and Jonathan Bailey’s show-stopping delivery of ‘Getting Married Today’ (seriously, best priest in a show, ever) is underscored by the fact that gay marriage is a thing now. Less obvious is the switching of roles for Susan and Peter, she’s the professional go-getter and he’s the one who faints at the sight of blood. And even Larry becoming something of a toyboy for Joanne speaks towards an important rebuttal of the kinds of cultural stereotype that have been allowed to persist. Continue reading “Review: Company, Gielgud”
Full casting for Elliott Harper’s Company announced – but what does this really mean for a gender-switched production. I crunch some numbers…
The full castlist for Marianne Elliott’s revival of Company has now been revealed, Jonathan Bailey’s casting as Jamie a late twist in the tale in a production trading on the interest of its gender-switching. Making Amy Jamie finally has the impact of queering the show as he remains partnered to Paul; but the rest of the show looks like it merely reinforces the heteronormativity of the world in general. Continue reading “News: Full casting for Company announced – but what does this really mean for a gender-switched production”
“You used me, you were lying, you are only here for spying”
The Grimeborn Festival is now in its sixth year of providing a very East London take on opera at the Arcola Theatre in Dalston, but wrapping up the programme this year is a new piece of musical theatre – Thirteen Days by Alexander S Bermange. A rather ambitious piece of work set around the Cuban Missile Crisis, not only does it tell the story of the brinkmanship between the three leaders of Kennedy, Khrushchev and Castro, it dramatizes the conflict in miniature in the form of a love triangle between a Cuban, a Soviet and an American, and thirdly also attempts to portray how the events affected the populations of each country.
In painting his canvas so broad, Bermange – in charge of book, music and lyrics here – sets up a considerable challenge for himself, one which is not helped by his writing style. He is very much of the old-school British musical theatre school which stands him in good stead for the second of the above strands, the intimate love story of the Cuban student engaged to a Soviet engineer but whose head is turned by an American visitor whose intentions are, initially at least, less than honourable. The stirring balladry that comes out of songs like ‘Anyone But You’ and ‘More Than A Memory’ feels ready to take up residence on a West End stage, as does the storming Act One finale – the mark of many a good musical past. Continue reading “Review: Thirteen Days The Musical, Arcola”
“Just a little touch of star quality”
I haven’t done many reviews of soundtracks to shows since starting to cover CDs on here, focusing more new writing and solo albums from MT performers, but I don’t know why not as I listen to them just as much. The first I’ll cover will be the OLCR of the 2006 revival of Tim Rice and Andrew Lloyd-Webber’s Evita, a production which revitalised this stalwart of a show in a way that I didn’t think possible and introduced me, and the rest of London’s theatregoers, to the glories of Argentinean star performer Elena Roger.
The soundtrack, edited highlights rather than the full score, captures much of what made that production so vibrant so that it doesn’t really matter that we don’t have any of the striking visuals and choreography that accompanied this Latin American infused remounting. The orchestrations have been totally refreshed in line with this re-envisioning and with Roger’s singing leading the company, there’s just a greater sense of authenticity about the whole shebang. Continue reading “CD Review: Evita 2006 London Cast Recording”
“Sometimes you’ve got to take hold of your life”
First shown at the New End Theatre in 2006, Tomorrow Morning is a new contemporary musical from British writer Laurence Mark Wythe which is now playing at the Landor Theatre in Clapham. It had a successful run in Chicago in 2008 which saw quite a few changes being introduced so this is a welcome opportunity to see this charming show in its new incarnation with a superb cast. I took advantage of the half-price preview offer so this is a review of a preview performance from 16th October.
Wythe wrote the music, lyrics and book to this four-hander which follows two couples on the eve of life-changing events. One, Kat and John, are bundles of nerves, stressing out about their impending marriage and their life ahead; the other, John and Catherine, are older, more world-weary as they prepare to sign their divorce papers. Contrasting the headiness of young love and new beginnings with the realities of maintaining a marriage, the show offers a thoughtful, universal look into relationships with some genuinely appealing characters and some moving revelations. Continue reading “Review: Tomorrow Morning, Landor Theatre”
I was adamant that I didn’t want to see this production of Evita for so long and I am not really sure why. But having announced its closure and with some good ticket deals floating around, I finally took the plunge and boy, was I wrong. Central to this revival of the 1978 Andrew Lloyd-Webber and Tim Rice collaboration was the casting of the Argentinean Elena Roger to take on the title role of this rags to riches story of the second wife of Argentinean president Juan Perón, Eva Duarte, whose controversial rise to power captured the hearts of some, thoroughly alienated others but ensured her a lasting legacy as one of the most colourful political leaders.
From the opening number, I could feel something exciting happening, a certain energy on the stage, which then exploded in a joyous version of ‘Buenos Aires’ filled with ecstatic singing, tight Latin-inspired choreography and I just loved it, I was ready for giving a standing ovation from then on! The incorporation of a real Latin American feel into both the music and choreography gives the show a real injection of authenticity which lifts it into the stratosphere. Continue reading “Review: Evita, Adelphi”