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”
“Wreck your room and rip your jeans.
Show ‘em what rebellion means”
The 2003 Jack Black-starring film School of Rock was a big success, trading off its stock talent show plot device with genuine rock music credentials in a soundtrack full of the likes of AC/DC, Led Zeppelin and The Doors. So it was a little bit of a surprise to find that Andrew Lloyd-Webber decided to adapt it into an original musical – his version of rock is certainly not the same as that espoused by Dewey Finn, School of (Pop-)Rock perhaps.
But one sticky moment aside (where a snippet of Stevie Nicks’ Edge of Seventeen sits awkwardly alongside a rock ballad ‘Where Did the Rock Go?’ exposing the contrast between the two kinds of rock), this School of Rock is a cheerily appealing slice of musical theatre. And with a seemingly endless role call of talented youngsters who, as we’re reminded at the beginning and the end of the show, play all their own instruments live, shows off a wealth of emerging British musical theatre talent. Continue reading “Review: School of Rock, New London”
“Anything can happen if you let it”
It is becoming increasingly clear that a show isn’t a show if a Strallen isn’t involved, even as an usher, and it is now the turn of Zizi to ascend to the role of leading lady, taking the title role in a mammoth UK tour of Mary Poppins which has started at the Curve in Leicester and which is already booking through to this time next year. And it isn’t too hard to see why such confidence has been invested in the future of the show when it is as stupendously good a piece of musical theatre as this.
I never got round to seeing the show in the West End – Julian Fellowes’ book building on P.L. Travers’ original books as well as the Disney film and composing duo Stiles + Drewe adding to the iconic score by the Sherman Brothers – and it’s an age since I saw the film so it really did have all the glorious impact of being a fresh new show for me but even if you did manage to see it, the lure of this fresh new production ought to tempt you along to one of the cities where it is playing to relive the joy. Continue reading “Review: Mary Poppins, Curve”