We get tricked”
With a singing style that is as strong as Theresa May’s record on supporting the police and an accent that is as stable as the content of her manifesto, it’s a bold move to make Miranda Hart the above the title star of this production of Annie, the first in London this millennium. To be fair though, unlike May she’s willing to work well with others, gamely throwing herself into harmonies and hoofing around in vaudevillean-style routines, but her performance is too close to the warmth of her TV persona to ever really convince of the darkness at the heart of Miss Hannigan.
Equally, it’s hard to feel that the West End is in real need of Annie and all its old-fashioned ways. Nikolai Foster’s production, seen on tour in the UK over the last year, has its certain charm but it is hard to get excited by any of it. Colin Richmond’s jigsaw puzzle of a set design misguidedly evokes thoughts of Matilda when in reality there’s nothing that fresh about it; Nick Winston’s choreography similarly promises much but ends up reaching for traditional touchpoints which end up underwhelming with the relatively small company at hand here, as evidenced in the small scale of ‘N.Y.C.’. Continue reading “Review: Annie, Piccadilly”
“If you’ve got no place to go, if you’re feeling down…”
Mamma Mia has been on my list of shows that I’ve never quite got round to seeing for ages now. I’d decided that I wanted to go in a large group, on a Friday night, after a fair few Hendricks and Fever Trees, but somehow it never quite happened. In the meantime, the show moved to the Novello to make way for those Mormon boys and then an expected Christmas present landed in my lap as a friend, tired of me saying ‘one day I’ll go’, bought me a ticket.
Though it wasn’t at all like I planned – a single ticket for a Monday evening with a bottle of Diet Coke – it actually proved to be a brilliant way to see the show and to restart my theatregoing for 2014. It was the evening after my first day back at work, I was sat front row centre and the huge geniality of a like-minded audience made it as genuinely pleasurable experience as one could expect from such a long-running stalwart of the West End. Continue reading “Review: Mamma Mia (and memories), Novello”
“Is it possible to be drunk and have a hangover at the same time”
Staged and directed at the Union Theatre by Michael Strassen, whose award-winning production of Assassins played here in 2010, the plot of The Fix follows the Chandlers, a Kennedy-esque dynasty of political players. When presidential hopeful Senator Reed Chandler pops his clogs in flagrante with a lady other than his wife, the family’s attention turns to Cal, his layabout playboy son. Mother Violet, a gin-sozzled matriarch, and uncle Grahame, a crippled gay Machiavelli, groom him to take up the family mantle but Cal is a reluctant politico, seeking refuge in drugs and extra-marital affairs. And as the stakes get higher the further into government he rises, the more dangerous it gets for those skeletons in the closet.
Composed by Dana P Rowe and with book and lyrics from John Dempsey, the 1997 show unfortunately occupies an uneasy middle ground between trying to tell the story above, yet simultaneously make satirical digs at the political classes, and I am not sure that it does either particularly well. It is therefore to their credit that the lead players, under Strassen’s careful direction, manage to tease as much out of their characters as they do. Continue reading “Review: The Fix, Union Theatre”