“Who could ask for anything more”
True to its name, An American in Paris premiered in 2014 at the Théâtre du Châtelet in the French capital to ecstatic reviews before transferring to the Palace Theatre on Broadway for another well-received (and Tony-winning) run there. It now rocks up at the newly refurbished Dominion Theatre, just ahead of another huge dance-heavy Broadway musical in 42nd Street, producers clearly banking on audiences wanting distraction from the realities of the outside world.
And that it certainly provides – director and choreographer Christopher Wheeldon’s reinvention of the 1951 film (new book by Craig Lucas) is an absolute feast for the eyes and ears. George and Ira Gershwin’s score is beyond classic (‘I Got Rhythm’, ”S Wonderful’, ‘They Can’t Take That Away from Me’ et al) and sounds luscious in Rob Fisher’s new arrangements musically directed by John Rigby, and Bob Crowley’s set and costumes look divine in all their old-school charm. Continue reading “Review: An American in Paris, Dominion”
Rob Edwards, in Duet For One and Separation, at the Octagon Theatre, Bolton
Michael Hugo, in Around The World In 80 Days, at the Royal Exchange
Harry McEntire, in Billy Liar, at the Royal Exchange
Dan Parr, in Britannia Waves The Rules, at the Royal Exchange
Michael Shelford, in Early One Morning, at the Octagon Theatre, Bolton
Clare Foster, in Duet For One and Separation, at the Octagon Theatre, Bolton
Natalie Grady, in Hobson’s Choice, at the Octagon Theatre, Bolton
Suranne Jones, in Orlando, at the Royal Exchange
Maxine Peake, in Hamlet, at the Royal Exchange
Lauren Samuels, in Love Story, at the Octagon Theatre, Bolton Continue reading “The 2014 Manchester Theatre Awards nominations”
“Is it possible that some people just aren’t supposed to be married”
Joseph Millson having a threesome and Jane Asher swearing are the main high points in Dan Mazer’s I Give It A Year, a film that could do with a whole lot more. The sheen on Nat and Josh’s whirlwind marriage has worn off a little, leaving them facing serious questions as they approach their one year anniversary. With former loves reappearing, new current attractions popping up and friends and family placing bets on whether they’ll make it to the landmark 12 months, the odds seem unlikely.
Which adds up to the film’s major problem, a distinct lack of any real dramatic imperative in hoping that Nat and Josh stay together. Rose Byrne does her best with a thanklessly constructed part who seems solely designed to frustrate Rafe Spall’s hangdog novelistic intentions but as the film opens with a fast-forward through the heady days of early romance, we’re not left with anything to convince us that we should be rooting for them to actually make it to a year, hell, even the end of the film! Continue reading “DVD Review: I Give It A Year”
“I suppose his…fortune had some bearing”
The choice to adapt Jane Austen’s endlessly popular novel Pride and Prejudice for the stage, as Simon Reade as done for this version at Regents Park’s Open Air Theatre, may well be one universally acknowledged as a good business decision. And whilst it may naturally lose some of the linguistic acuity that characterises the best of Austen’s work and provide a stately and solid, rather than superlative, piece of theatre, Deborah Bruce’s production has an undeniable elegance and a rather irresistible charm that many may find hard to resist.
There are few surprises in Reade’s adaptation apart from the skill with which he has compressed and filleted the story, so that it keeps an entirely recognisable shape, populated by all the well-loved characters doing what they do best, over the 2 and three quarter hour running time. Daughters of a country gentleman who hasn’t quite kept up his responsibilities to them and a mother all-too-keen to sort them our, the five Bennett sisters find themselves in need of securing their position in society in the only way they can, through marriage. Continue reading “Review: Pride and Prejudice, Open Air Theatre”
“When one is in town one amuses oneself. When one is in the country one amuses other people.”
Oscar Wilde’s The Importance of Being Earnest follows the Rose Theatre Kingston’s tried and tested formula of mounting classic plays for their homegrown productions. We’ve had Dame Judi in A Midsummer Night’s Dream, Celia Imrie in Hay Fever and now we have Jane Asher taking on Lady Bracknell and her handbag under Artistic Director Stephen Unwin. Hayden Griffin’s spare design on the wide stage is framed within a proscenium arch of sorts, a giant picture frame containing a few pieces of furniture scattered around, but largely the stage is left free to be dominated by Wilde’s witticisms.
And how witty it is. Wilde’s play may not tackle any deep societal issues or serious topics but his clever plotting and incisive humour skewers the English obsession with class and the grasping social ambition of those who have clambered their way up the ladder, keen to keep others in their place. There’s also a touch of feminism in a trio of strong female characters determined to get what they want and fully cognisant of how to get it whilst the men mess around with their false identities and get increasingly flustered. Continue reading “Review: The Importance of Being Earnest, Rose Kingston”
“Shall we go and get lunch?”
At the Rose Theatre in Kingston, The Importance of Being Earnest is playing in rep with another play, Farewell To The Theatre by Harley Granville Barker. A short 50 minute one-act piece, it stars Jane Asher as a famous actress who has decided to bow out from the theatre who visits her lawyer, Richard Cordery, to explain her reasons and revisit their shared past of missed opportunities. Written in 1916, this is the European premiere of this play and I am not sure that it is one which really merits this production: it is hard to see any real connection with Wilde’s piece, it is only on for just a handful of performances and it completely failed to engage me.
Granville Barker’s writing has some attractive moments but the abiding theme of the importance of the theatre feels a little too self-regarding and quite frankly, not as interesting as all that. Asher does wear a fabulous aquamarine satin dress in it and I do love Richard Cordery, but the static nature of this piece, also directed by Stephen Unwin, worked against it. So it was hard to shake the feeling that this was a curiosity that perhaps could have continued to collect dust on the shelf, though there may be some interest for theatre historians. Continue reading “Review: Farewell To The Theatre, Rose Kingston”
“My mother used to say, Delia, if ever S-E-X rears its ugly head, close your eyes before you see the rest of it.”
Alan Ayckbourn’s play Bedroom Farce follows three married couples in their bedrooms over a long, long night as a troubled fourth couple, Trevor and Susannah spill forth with their problems and visit each couple sometimes together, sometimes apart, but always causing havoc and making everyone question their own marital stability. It arrives at the Duke of York’s from a run last year at the Rose in Kingston with 5 of the 8 original cast members for a 14 week run.
I realise it has the word ‘farce’ in the title, but is the sight of a man in a coat several sizes too big, or a poorly constructed desk falling apart really so hilarious? The theatre was full of people laughing loudly from the word go at everything put in front of them, but I was not one of them. This play was at its best when the physical comedy stopped and the wit in the writing was allowed to shine through, but these moments were too few and far between for me and even then it was often just too mannered and inoffensive. Continue reading “Review: Bedroom Farce, Duke of York’s”