A trio of album reviews cover the (relatively) recently released cast recordings of Company, Follies and Mythic
“One more souvenir of bliss”
I adored Marianne Elliott’s reinterpretation of Stephen Sondheim and George Furth’s Companyon my many visits and so the news of a cast recording was of course ecstatically received. And perhaps inevitably it doesn’t quite live up to the thrill of seeing it live but maybe that’s because the production is still so fresh in my mind. I mean we’re only talking a 4 instead of a 4.5…
I swear Patti LuPone’s ‘Ladies Who Lunch’ was different every time I saw it but this version here is as good as any, with the glorious fullness of her voice pointedly sharpening its wit. Her contributions to ‘The Little Things We Do Together’ are inspired, Jonny Bailey’s ‘Not Getting Married’ is breathlessly affecting and the warmth of Rosalie Craig’s character and voice infuse the whole experience with real quality. Continue reading “Album Reviews: Company / Follies / Mythic”
Greek mythology goes pop with appealing new musical Mythic at the Charing Cross Theatre
“Step away from the pomegranate”
As we wait for Hadestown to arrive at the National Theatre, an alternative modern musical take on Greek mythology has emerged just across the river at the Charing Cross Theatre. Marcus Stevens and Oran Eldor’s Mythic may have a rather unassuming demeanour by comparison, but it is proves to be something of a gently Olympian success from director/choreographer Sarah O’Gleby. (FYI I caught a late preview of this).
Stevens’ book focuses on the troubled mother/daughter relationship between earth mother goddess Demeter and rebellious teen Persephone. Demeter has rejected the hard-partying celebrity lifestyle of the gods in favour of her Mother Nature ways but Persephone wants nothing more than to drop the trowel and kick it up good with the likes of the Essex-style Aphrodite and an emo Hades. Continue reading “Review: Mythic, Charing Cross Theatre”
A lively and emotional actor-musician production of The Secret Garden marks a fantastic debut for the brand new Barn Theatre in the Cotswolds
“I heard someone crying… Maybe it was me”
After three years renovation and development work, the Barn Theatre in Cirencester opens its doors with a fresh and spirited actor-musician take onThe Secret Garden. A passion project of artistic director Iwan Lewis (who once appeared in a youth production of the musical in the town), the 1991 Tony-winning musical adaptation of Frances Hodgson Burnett’s 1911 children’s novel (book and lyrics by Marsha Noman, music by Lucy Simon) has been curiously under-served in terms of major revivals (I saw a fringe version back in 2013) and so proves a canny choice for a new venue seeking to attract an audience.
It is clear to see that time and thought, and resources, has been invested into the Barn to make it to help it succeed. So Sam Rowcliffe-Tanner’s lighting design, with all its delightful hidden surprises, benefits from a properly swanky lighting rig that would be the envy of pretty much any off-West-End theatre; so too PJ McEvoy’s projections looking highly professional as they move us around Misselthwaite, from dusty, disused ballrooms to briar-filled nooks.
But for all the technical strength, this Secret Garden blooms because of the creative work that has been ploughed into it. The physical aspects of McEvoy’s design have a deliberately rustic feel, suiting time and place well, reflected in the nature of Elliot Ditton’s puppets. The evocation of an inquisitive robin is gorgeously done but it is the way in which Simon’s score has been thoroughly reinvented that reinforces how this production, and the venture at large, is about about mimicking the Great White Way than creating a new Cotswolds Way. Continue reading “Review: The Secret Garden, The Barn Theatre Cirencester”
Jeez Louise, it gives me no pleasure to report this production of Footlooseis among the worst things I’ve seen this year. Jukebox musicals are fine in their place, movie adaptations likewise are ever increasingly the norm but they need love and inspiration to elevate them, rather than the workaday effort and dead-eyed calculation they get here.
Perhaps its the result of coming at the tail end of over a year’s touring, perhaps it was a crowd not quite as enthused as the audience of a feel-good show need to be to give it that lift, perhaps it’s just not very good. There’s a real sense of mechanical action about the production, everything moves in the correct way but there’s zero spontaneity here, little sense of the precious ‘liveness’ of great theatre.
If you can’t get a Strallen, then book a Nolan – Maureen is the show’s strongest asset as the only cast member to really try and bring any heart to her performance. The rest just make you wish that the ban on dancing was more strictly enforced, as well as mugging as if this was a panto. By the time Gareth Gates is wheeled out to strip down to hotpants, you’ll long be wishing that you could cut loose.
Running time: never has 2 hours 30 minutes felt so much like a lifetime
Booking until 30th September, then playing Royal Court, Liverpool 30 October-3 November