“Come see the show, She will neither know nor care”
It is always fascinating to listen to the cast recordings of shows that are regarded to have flopped, to see whether the writing was always on the wall or if some reason was responsible for the magic not happening. Lasting just four months at the Theatre Royal Haymarket in 2008, Margueriteis one such musical, despite (or maybe because of) the weight of expectation behind its writing team.
With a book by Alain Boublil, Claude-Michel Schönberg and Jonathan Kent (from the the Alexandre Dumas, fils’ novel La Dame aux Camélias) lyrics by Alain Boublil and Herbert Kretzmer, and music by Michel Legrand, the demands on these Gallic grandees were nothing short of recreating the exceptional success of Les Misérables (on which Boublil, Schönberg and Kretzmer collaborated) but it wasn’t to be. Continue reading “Album Review: Marguerite (2008 Original London Cast Recording)”
“You don’t get that quality of dance at Sadler’s Wells”
There’s something wonderfully political about the Lyric Hammersmith’s pantomime Aladdinthis year. Not just in Joel Horwood’s script, which packs in the requisite Trump and Brexit jokes, plus a cleverly worked visual gag for Article 50, and has the land of Fulhammerboosh ruled over by the Emperor One Per Cent. But in almost every aspect of Ellen McDougall’s production, there’s the kind of astute decision-making that has made her a director to watch and whets the appetite even more for her forthcoming Artistic Directorship of the Gate Theatre.
So the first character we meet is Abanazer, played with lip-smacking relish by Vikki Stone as a cross between Mrs Overall and Grotbag, who pretty much steals the show. And our Aladdin is no clueless US import but rather Lyric regular Karl Queensborough, notching up his eighth performance at a venue where he was nurtured by their youth programme. And casting Malinda Parris as the genie not only releases her sensational powerhouse vocal but also further shows up how questionable Disney’s Aladdin’sgender politics are over at the Prince Edward Theatre.
Thus through these choices, this Aladdin feels refreshed and revitalised, an entirely appropriate piece of family entertainment for 2016. And it does this without ever losing sight of all of the traditional aspects of pantomime that we’ve come to love and expect. So there’s some fantastically saucy humour from James Doherty’s Widow Twankey which (should) fly over the kids’ heads along with the sweets thrown out, there’s tons of audience participation led by Arthur McBain’s excellently sensitive Wishy Washy, and an unflagging atmosphere of fun that never drops.
With a sprightly soundtrack featuring rewritten lyrics to some of the year’s pop hits, an impressively staged magic carpet ride, singalongs and snowfalls, Aladdin is undoubtedly a hit. But it is that it’s a hit very much on the Lyric Hammersmith’s own terms that is most remarkable, along with the message it is passing onto the next generation. You may not necessarily agree with its empire-abolishing politics (with a big P) but the politics (with a small p) of teaching our kids that girls can be genies too, that hard work pays off, that the magic of great theatre lies in the imagination, are irrefutable. Exciting and entertaining, this truly is panto for the 21st century.
“It’s hard to get things right while they happen to you”
With his second play Eventide, one gets a sense of what the Barney Norris-verse is about. As with the aching splendour of last year’s Visitors, we’re in rural England and focusing on the smaller details of the big picture, the individual lives that make up a society that is struggling to keep pace with the changing world. An elegant three-hander played out over two key encounters a year apart, Alice Hamilton’s production is full of subtleties and subtly powerful acting that does real justice to Norris’ emerging voice as a playwright of real note.
In the pub garden of an establishment in deepest Hampshire, three lonely souls share their sorrows, specifically in one case as it is the day of a funeral but also more generally as the rural economy on which they all depend has become increasingly depressed, the world of farming very much no longer what it used to be. Pub landlord John is throwing in the towel and selling to a chain, church organist Liz is losing money foot over pedal as local gigs are so thin on the ground and Mark, whose best friend’s funeral it is, can’t go because a rare job offer – as painful as it is – has come up. Continue reading “Review: Eventide, Arcola”
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.
The material has been considerably reshaped for the screen – Moira Buffini assisting as script consultant – resulting in a much more straight-forward narrative through-line than was seen on stage. This linear development is reflected in Danny Cohen’s cinematography which tracks the wintry gloom of the beginning into the verdant bloom of the climax with a real visual grace. Straightening out the storytelling reduces the theatricality of the presentation too, making this feel much more like a piece of documentary realism.
Where the stage show had a cast of eleven each playing a resident and multiple other roles, each character is played by someone different here, meaning the focus is teased out a little from the tight circle of the London Road residents and their outrage about their street turning into a red light district, to give a more fully realised sense of the wider community. They consequently get more of their own voice heard – the nervy teenagers suspecting everyone around them, the sex workers shaken up by the attacks on their own, the journalists tiptoeing around the sensitivity of the issue whilst always on the lookout for a scoop.
The experience of the residents does remain central to the film though, Blythe digging back into her archive of interviews to find ways of ensuring at least of them appears in every scene and Cork rejigging the score where necessary too. And this is where the writing is at its strongest, in always showing the complexity of the collective response. Though the story moves towards a happy(ish) ending with the London Road in Bloom street party as the culmination of their efforts, there’s no pretence that a solution to the inherent problems has been found, they’ve just been moved away from their doorstep.
This ambiguity comes across particularly well in characters like Olivia Colman’s Julie and Nick Holder’s Ron, barely apologetic in their unspeakable thoughts yet rooted in small-town authenticity. Paul Thornley’s inscrutable Dodge, Linzi Hateley’s pragmatic Helen and Clare Burt’s dithering Sue remain a delight, Anita Dobson is daffily wonderful as June, Michael Shaeffer and Rosalie Craig’s journalists both stand out and the original Julie, Kate Fleetwood, plays the new role of Vicky, a haunting figure representing the spirit and presence of the working girls, both alive and dead.
And delving a little deeper, clever little touches abound in the production. The two schoolgirls singing ‘It Could Be Him’ (see clip below) are the daughters of Burt (Eloise Laurence) and Hateley (Meg Hateley Suddaby); Blythe and Cork both get cameos as a newsreader and a pianist respectively; and the final street party mixes real residents of both the real London Road in Ipswich and the fictional one in Bexley in with an ensemble that folds in any number of faces that seasoned theatregoers might recognise.
Elements of choreography by Javier De Frutos are used sparingly but most effectively to sprinkle pathos or humour into sequences as required, David Shrubsole’s sharp musical direction keeps the singing (nearly all done live) on point, and Norris’ direction constantly takes on inventive new directions to expertly but sensitively reshape the material for this new medium. I can’t imagine what it would be like to come to this film without prior experience of the show (and I’d be fascinated to hear from you if that’s you) but as a fan, it is undoubtedly a beautiful extension to one of the most innovative musical theatre experiences of the last decade.
Full cast list
Julie – Olivia Colman
Sue – Clare Burt
Kelly McCormack – Rosalie Craig
June – Anita Dobson
Seb – James Doherty
Vicky – Kate Fleetwood
David Crabtree – Hal Fowler
Helen – Linzi Hateley
Tim – Paul Hilton
Ron – Nick Holder
Councillor Carole – Claire Moore
Simon Newton – Michael Shaeffer
Rosemary – Nicola Sloane
Dodge – Paul Thornley
Terry – Howard Ward
Gordon – Duncan Wisbey
Mark – Tom Hardy
Hayley – Rosie Hilal
Natalie – Amy Griffiths
Colette McBeth – Gillian Bevan
Jessica – Anna Hale
Schoolgirl 1 – Eloise Laurence
Schoolgirl 2 – Meg Hateley Suddaby
Kath – Angela Bain
Margaret – Jenny Galloway
Alan – Sean Kingsley
Imelda – Jayne McKenna
Jason – Richard Frame
BBC Newsreader – Alecky Blythe
Grahame Cooper – Mark Lockyer
Harry – Barry McCarthy
Shop Assistant – Abigail Rose
Evening Star Girl – Maggie Service
Radio Techy – Alexia Khadime
Radio DJ – Dean Nolan
Stephanie – Ruby Holder
Alec – Calvin Demba
Stella – Helena Lymbery
Wayne – Mark Sheals
Graeme – Morgan Walters
Ivy – Janet Henfrey
Steve Cameraman – Jonathan Glew
Chris Eakin – Jason Barnett
Policeman – Andrew Frame
Anglia Newsreader – Rae Baker
Abby Rose Bryant, Adam Dutton, Adam Vaughan, Alan Vicary, Alicia Woodhouse, Alistair Parker, Amanda Minihan, Ameer Choudrie, Andrew Spillett, Andy Couchman, Anita Booth, Annette Yeo, Audrey Ardington, Barnaby Griffin, Basienka Blakes, Bob Harms, Carl Patrick, Carly Blackburn, Carol Been, Cassandra Foster, Charlotte Broom, Chloe Bingham, Chris Akrill, Clare Humphrey, Clemmie Sveaas, Connor Dowling, Coral Messam, Corinna Powlesland, Cornelia Colman, Courtney Crawford, Cris Penfold, Cris Snelson, Cydney Uffindell-Phillips, Daisy Maywood, Daniella Bowen, David Birch, David Stroller, Debra Baker, Don Gallagher, Edward Baruwa, Elaine Kennedy, Eleanor Clark, Ella Vale, Ellis Rose Rother, Emily Bull, Emma Brunton, Eva Lamb, Faye Stoeser, Frank Stone, Gary Forbes, Graham Hoadly, Haruka Kuroda, Hayley Gallivan, Helen Colby, Hendrick January, Ian Conningham, Ilana Johnston, Ilse Johnston, Ira Mandela Siobhan, Jack Edwards, Jackie Marks, James Ballanger, Jess Ellen, John Brannoch, Johnathan Fee, Jon Ponting, Joshua Lacey, Judith Paris, Julie Armstrong, Karianne Andreassen, Kayleigh Clayton, Laura Cubitt, Leah Ellis, Leah Georges, Leanna Wiggington, Lee Nicholas Harris, Linda Lewcock, Louis Fonseca, Louise Lee, Lucinda Shaw, Luke Fetherston, Lynne Wilmot, Marc Antolin, Margarita Reeve, Melanie La Barrie, Michael Fox, Michelle Wen Lee, Miles Mlambo, Miroslav Zaruba, Morgan Crowley, Natalie Victoria Dungan, Nathan Amzi, Nathan Harmer, Nathan Rigg, Nicholas Marshall, Oliver Roll, Paul Blackwell, Paul Bullion, Paul Shea, Perry Moore, Pete Meads, Philip Howard, Rachel Ann Davies, Rajesh Kalhan, Rebecca Scarott, Rebecca Sutherland, Rebecca Thomas, Reuben Williams, Rob Smithson, Sarah Heyward, Sarah Stanley, Sidney Livingstone, Simon Fee, Simon Humphrey, Stephanie Natufe, Stephen Webb, Steve Carroll, Steve Elias, Stuart Angell, Susan Fay, Susan Lawson-Reynolds, Tim Coldron, Tom Lyle Severn, Tomos James, Tony Pankhurst, Tony Timberlake, William Rossiter, Yinka Williams, Zoe Uffindell
Additional Choral ADR Group
Bethan Nash, Callum McIntyre, Daisy Maywood, Edward MacArthur, George Ikediashi, Hannah Genesius, Patrick Tolan, Perry Moore, Steve Rostance, Toby Webster,
“Begonias, and… petunias, and… um, impatiens and things”
Technically speaking this is a re-re-review of London Road, which has made a belated transfer from the Cottesloe to the considerably larger Olivier at the National Theatre, as it is the third time that I’ve seen it. I saw it when it first opened and was blown away by its inventiveness and genuine originality as a piece of musical theatre, and then made a return trip when the show extended its initial run, a visit which coincided with the summer riots here in the UK last year, a time which magnified one of the key messages of the show, of the importance of community. The decision to remount this award-winning and critically acclaimed show, even after a considerable gap of nearly a year, may have seemed like a no-brainer but for those who were able to catch it in the Cottesloe like me, I suspect there may be a little disappointment as something of the magic has been lost in the move.
A strong element to this could well be my own snobbery. As the ticket purchasing was up to someone for once, I ended up in the circle – for the first time in years! – and whilst it wasn’t as bad as I had first feared, the distance does make it a completely different theatrical experience. And ‘experience’ is the right word, for this is such a unique show in its hybrid of verbatim theatre, which replicates the speech patterns and intonations of interviewees, and freestyling atonal music, which forms an additional structure and texture as it layers, repeats and counterpoints the speech into something strangely hypnotic and beautiful. Continue reading “Re-review: London Road, National Theatre”
Though North Square was probably the first time I really took notice of Helen McCrory, it was in The Jurythat she really stole my heart and for ages, it was this show that I fruitlessly referenced when trying to explain who she was. Written by Peter Morgan, The Jury played on ITV in 2002 over 6 episodes following a single court case as a Sikh teenager is accused of killing his 15 year old classmate. But rather than focusing on the case, as the title suggests the attention was the men and women that made up the jury and how the experience affected their lives in a multitude of ways.
McCrory played Rose, a rather nervous woman with an overbearing husband (boo, Mark Strong) who unexpectedly finds a sense of freedom in being allowed out into a new world and seizes the opportunity with both hands. Stuck in a room with people she doesn’t know, she almost reinvents herself from scratch and find herself increasingly drawn to Johnnie, who is played by a pre-Hollywood Gerard Butler (so who can blame her). He has his own challenges from a troubled recent past though and so whilst the sweet relationship that builds between the two is beautifully essayed as one senses the genuine spark between the pair, the small matter of his demons and her husband remain in the way. Continue reading “DVD Review: The Jury”