“I am freedom, I’m constriction
A potpourri of contradiction”
A cheeky trip back to Kinky Boots (my third time) – here’s my review from last time. I’ll just say Matt Henry continues to be fiercely amazing, the wholesome David Hunter is perfectly (re)cast as ol’ Charlie boy, and Elena Skye manages the not-inconsiderable feat of stepping into Amy Lennox’s shoes as the hilarious Lauren. It’s still a lovely, lovely show and I’m really pleased that it appears to still be doing really well. Now put the nose on the Charlie!
“All along knowing that no-one has returned to care”
Barely managing six months in the West End in 2013/4, I think it’s fair to say the musical adaptation of From Here to Eternity
underwhelmed. And though I was reasonably fair to it at the time, I can’t say that it has aged well, upon returning the live cast recording that was made before the final curtain fell, blame seeming to fall evenly between composer Stuart Brayson, lyricist Tim Rice and book writer Bill Oakes.
And with weaknesses on all sides like this, very much exposed in the medium of record, it’s not too hard to see why the show didn’t achieve anywhere near the levels of success it was aiming for. There’s so little sense of the main thrust of the story coming through, or indeed any of the strands put forward being sufficiently developed, to make you care about any of the relationships or the plight of the men.
Oakes’ book moves inconsistently around all of them and Brayson’s score does little to provide any covering connective tissue. His musical influences pull from too broad a canvas to provide aural cohesion and far too few of the songs are focused on advancing narrative – the coupling of Warden and Karen (whose surf-soaked bodies provide the iconic image) are given hardly any musical time together, quite Darius Campbell and Rebecca Thornhill are meant to do to generate chemistry in solo numbers is beyond me.
Robert Lonsdale and Siubhan Harrison as the other couple fare a little better but again, are more apart than together musically. What we’re left with is a grab-bag of tunes, barely scratching the surface of anything, least of all the men of G Company whose tragic fate ends up feeling like divine retribution for being horrific human beings. There’s undoubtedly some halfway striking musical moments – the startling melody of ‘Thirty Year Man’ provides real interest, Ryan Sampson’s sardonic ‘I Love The Army’ threatens to show some character but all in all, it’s little surprise we’ve gone from here to obscurity.
“Everybody’s very very nervous”
The theatrical production of London Road
was a major success for the National Theatre, the opening run first extending in the Cottesloe and then being rewarded with a later transfer to the much larger Olivier – I was first blownaway by its originality
and then later comforted by its message
in the aftermath of the 2011 riots. So the news that director Rufus Norris was making a film adaptation was received with apprehensive anticipation, could this strikingly experimental piece of theatre possibly work on screen.
Writer Alecky Blythe uses a technique whereby she records interviews with people which are then edited into a play but spoken verbatim by the actors, complete with all the ums and aahs and repetitions of natural speech. And in 2006, she went to Ipswich to interview a community rocked by a series of murders, of five women in total, all sex workers, and set about telling a story not of salacious deaths but of a community learning to cleave together in trying times. Oh, and it’s all set to the most innovative of musical scores by Adam Cork, elevating ordinary speech into something quite extraordinary.
Continue reading “Film Review: London Road”
“Here’s a little thing I wrote about life”
A little Sunday night treat at the Union was Songs from the Playground, a showcase of new musical theatre writer John Kristian, giving us snippets from a number of his works-in-progress and featuring a cast of performers that pleasingly contained few of the usual suspects. Don’t get me wrong, I love Julie Atherton, I truly do, but it is nice to see someone else get to do the comedy song for once 😉 And there’s a big one here in the form of ‘The Big O’ with which Catherine Digges had great, knee-trembling fun.
That song came from his revue show Hidden Talents but most of the first act focused on his first musical Vow and an adaptation of the well-known film The Holiday (although it was new to me…). Presented without introduction, it was a solid rather than a spectacular beginning to the evening, a constant flow of context-free new material is hard to fully process though Dan Looney and Bronté Barbé’s awkward teenage party encounter ‘Kiss Me’ was very well done as was Looney’s rapid rattle through ’23 Vows’. Continue reading “Review: Songs from the Playground, Union Theatre”
“I got the ‘ain’t where I wanna be’ blues”
Suffering the fate of a fair few musicals that have taken up residence in the slightly-too-out-of-the-way Shaftesbury Theatre, From Here To Eternity announced its early closing last year and since then the end has drawn even closer with the final date being moved from the end of April to 29th March. I wasn’t blown away by it on first viewing but I had thought I might be tempted to see it again to see how it stood up to repeated viewing and also to get another listen to Stuart Brayson’s naggingly persistent score. But to be honest, it didn’t really work out that well.
A sadly small audience robbed the theatre of atmosphere despite the cast’s best efforts – it was however nice to see Marc Antolin doing well standing in for Ryan Sampson as Maggio – and there is no escaping the strange weighting of the show towards trying to make empathetic figures out of a largely objectionable group of people, especially in the racist, adulterous, misogynistic, homophobic bullying G Company. Continue reading “Re-review: From Here To Eternity, Shaftesbury”
“Don’cha like Hawaii?”
From Here to Eternity marks the return of noted lyricist Tim Rice to the London stage with this new adaptation of this World War II story, probably best known in its film incarnation and its iconic shenanigans in the surf. This treatment harks back to the original novel to introduce darker elements to the story yet it has also been transformed into a traditional West End musical, which brings with it a certain style that doesn’t always sit too well together with the material.
Set in the adulterous, misogynistic, homophobic, racist and bullying atmosphere of the G Company barracks in Hawaii in the summer of 1941, Bill Oakes’ book – based on James Jones’ novel of his own experiences – has a strangely disjointed quality as it struggles to weave together its three main strands. First Sergeant Milt Warden is hot for his captain’s lascivious wife; new arrival Private Robert E Lee Prewitt is less concerned about joining the corps’ boxing team and falls in love with call girl Lorene instead; and Private Angelo Maggio spends his time ducking and diving, making a quick buck by fraternising with the island’s gay population. Continue reading “Review: From Here To Eternity, Shaftesbury Theatre”
“Cake in the oven, champagne on ice
Much as I hate to I may even shave twice”
The Baker’s Wife with music and lyrics by Stephen Schwartz and book by Joseph Stein is a musical that managed to develop something of a cult following despite flopping in the West End in 1989 and never actually having run on Broadway. Director Michael Strassen has now given it a rare outing at the small-scale powerhouse that is the Union Theatre. Based on the Marcel Pagnol and Jean Giano film La Femme Du Boulanger, the show is all about what happens in a rural French community when Geneviève the young wife of the village baker leaves her husband Aimable for a sexy piece of rough. He loses his baking mojo which sufficiently outrages the villagers to put aside their multifarious squabbles to come together and try to reunite the couple.
There is usually a reason that shows are left on the shelf and true to form, The Baker’s Wife pretty shows us why. Schwartz’s score is largely strong with some genuinely sublime moments but the book is stolid, unimaginative and fatally fragmented. Too much time is spent on the villagers around the love triangle but there’s so many of them, all contributing to the larger metaphor of the show, that none get a fair crack of the whip. And consequently, there’s not enough room to really focus on the main protagonists either. Indeed, Geneviève’s story doesn’t come across as particularly sympathetic at all, it is so hurried: it is revealed that she married Aimable on the rebound from being rejected by her married lover but she’s going to put up with him. Having left him shortly after singing this, she then dumps her new paramour after five minutes on the run and a roll in the hay – one can’t help but feel the baker is better off without her! Matters are not helped by an additional horribly overdone metaphor of her cat running away and returning contemporaneously, subtle it is not. Continue reading “Review: The Baker’s Wife, Union Theatre”