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”
Jamie Lloyd’s reinvention of Evita at Regent’s Park Open Air Theatre proves a storming success
“I could find job satisfaction in Paraguay”
If this was the production of Evita that was forever touring the UK, then we could all be a hell of a lot more enthused about the future of UK theatre. Bill Kenwright might have the business side locked down with dull predictability but at the Open Air Theatre, Jamie Lloyd is unleashing a torrent of creative genius which proves inordinately exciting to witness.
He offers up a complete reimagining of the Andrew Lloyd Webber and Tim Rice musical and one which feels sparkingly fresh in every single aspect. The open bleachers of Soutra Gilmore’s design which turns our focus to the human relationships here, the striking physicality of Fabian Aloise’s choreography with its haunting screaming faces and way-cool domino effect points to societal trauma and most crucially, Lloyd allows the shadow of populist politics to loom large. Continue reading “Review: Evita, Open Air Theatre”
Baz Luhrmann’s Strictly Ballroom the Musical may not be the strongest musical in the world, but it’s a stronger piece of musical theatre, thanks to Drew McOnie’s choreography
“Pam Shortt’s broken both her legs, and I wanna dance with you”
It is fascinating to be able to follow the development of a show, particularly one that has morphed as much as Strictly Ballroom the Musical. I saw it at the West Yorkshire Playhouse the winter before last, where it didn’t quite set my world on fire, so I was intrigued to hear that its arrival in the West End at the Piccadilly would be accompanied by quite the overhaul, still directed and choreographed by Drew McOnie.
The major change to this adaptation of Baz Luhrmann’s 1992 cult hit movie comes with the introduction of bandleader Wally Strand, played by Will Young, an MC figure and human jukebox who takes on the vast majority of the evening’s singing. And as we skip from Grace Jones to Billy Idol, via Bowie, Whitney and Cyndi, it’s a real pleasure to hear him sing Marius De Vries’ brilliant new arrangements. Continue reading “Review: Strictly Ballroom the Musical, Piccadilly”
Two winters ago if you went to the Old Vic,
Your life would have been filled with something fantastic.
A musical treat fit for all of the fam’ly,
The Lorax is as good as such a show could be.
Returning for half-term with some new cast members,
The musical’s just as good as I remember.
It’s heartfelt and funny and really quite moving,
A powerful message but not too reproving. Continue reading “Re-review: The Lorax, Old Vic”
“I don’t really need to look very much further”
As The Bodyguard is soon to close in the West End with a UK tour scheduled for early next year, it seemed as good a choice as any for a Friday night out with the girls and a few bottles of wine. I saw the show when it first opened and recognised it exactly for what it is, uncomplicated blockbuster fun, and so I was happy to revisit. One of the sadder things about the continuation of the run though has been the move to star casting – I didn’t see Beverley Knight so I can’t comment on her performance but the current incumbent of the Rachel Marron role, immortalised by Whitney at the cinema, is X-Factor winner Alexandra Burke, a singer with no theatre experience.
Did it matter? It’s hard to tell in the end – she has the requisite booming voice to deliver the selections from Whitney’s back catalogue that are scattered through the show, although she really cannot resist the misguided inclination to throw in extra licks, riffs and wobbles into every single number, as if to prove a point that no-one is making. And her acting is neither here nor there, falling back on a lot of gesticulation to say what’s she saying and against a male lead part that asks nothing of Tristan Gemmill but to look craggy and an understudy on for sister Nicki (her singing voice strong but whose spoken accent was truly transatlantic, as Welsh as it was American), fitting right in.
Continue reading “Re-review: The Bodyguard, Adelphi”