A brilliant cast shine in this striking revival of Arthur Miller’s Death of a Salesman at the Young Vic
“Attention, attention must finally be paid to such a person”
The American dream hasn’t often looked like this. Marianne Elliott and Miranda Cromwell’s re-imagining of Arthur Miller’s Death of a Salesman reaffirms the Young Vic as the place to go to shake up these American classics (qv A View from the Bridge) with a startling revival that seems destined to go far.
Elliott has recent form of course in reinterpretations and Cromwell was the Associate Director on Company too. And if Death… might not go quite as far, it still emerges as a thoughtful reconsideration with a decidedly psychological bent, trapping us as much as Willy in his troubled mind. Continue reading “Review: Death of a Salesman, Young Vic”
Just the one more trip to see the glorious Company at the Gielgud Theatre before it sadly depart
“You can’t stay in your thirties forever”
I went back, again. Well I had to, at least while the above quote is still true for me for a couple more months. There’s not much left to say about Company that I haven’t said already here, or here, or here and it remains an absolute pleasure to watch, a show I could sit through time and time again even more so than I have already. It will be very much missed.
And I do think it really has gotten better as the run has progressed, performances deepened and matured, but also deliciously playful – I swear the magnificently brassy Patti Lupone has done something different every single time and it has been wonderful for it. It will be fascinating to see how Marianne Elliot’s production fares on Broadway and who, if anyone, transfers with it. Continue reading “Yet-another-re-review: Company, Gielgud Theatre”
I can’t keep away from Marianne Elliott’s award-winning Company, and it richly repays the rewatching
“A festive atmosphere pervades the room”
Hot on the heels of its double Evening Standard-award winning weekend, Company remains in sparkingly good form. And from the seats in the dress circle box (a bargainous £20 if you can find ’em), the slightly restricted view matters not a jot as the extreme proximity means you have something of the intimacy of watching a show at the Donmar. Which in a show of this quality means that there’s all sorts of detail that you can see, which isn’t immediately apparent from the back of the stalls.
Some of my key revelations from this visit (not necessarily restricted to things that we discovered by being close) : Continue reading “Re-re-review: Company, Gielgud Theatre”
As if you needed more convincing, here’s another 5 star review of this superlative re-imagining of Sondheim’s Company
“Everything’s different, nothing’s changed.
Only maybe slightly rearranged”
From the moment Marianne Elliott’s new production of Company started, I knew that it wouldn’t be something I only saw once. Indeed, by the time we’d reached press night, that was my third time at the show! And now that an extension through to the end of March has been announced, there’s never been a better time to get booking. Read my 5 star review of Company for Official Theatre here.
Running time: 2 hours 40 minutes (with interval)
Photo: Brinkhoff Mogenburg
Company is booking at the Gielgud Theatre until 30th March
The company of Company are simply sensational at the Gielgud Theatre – Rosalie Craig, Patti LuPone, Jonny Bailey…just book now!
“Everyone adores you, what an awful thing”
Phone rings, door chimes, in comes an adaptation of Company that subtly but definitively realigns it for a contemporary audience and makes you wonder how you could ever go back to the original as is. Marianne Elliott’s reworking is most notable for the regendering of its lead character – Bobby becomes Bobbie in the extraordinary hands of Rosalie Craig – but the changes it makes filter right down through the show, reflecting the changes in society since the show was written in 1970.
Sometimes it is overt. Amy becomes Jamie here, and Jonathan Bailey’s show-stopping delivery of ‘Getting Married Today’ (seriously, best priest in a show, ever) is underscored by the fact that gay marriage is a thing now. Less obvious is the switching of roles for Susan and Peter, she’s the professional go-getter and he’s the one who faints at the sight of blood. And even Larry becoming something of a toyboy for Joanne speaks towards an important rebuttal of the kinds of cultural stereotype that have been allowed to persist. Continue reading “Review: Company, Gielgud”
Full casting for Elliott Harper’s Company announced – but what does this really mean for a gender-switched production. I crunch some numbers…
The full castlist for Marianne Elliott’s revival of Company has now been revealed, Jonathan Bailey’s casting as Jamie a late twist in the tale in a production trading on the interest of its gender-switching. Making Amy Jamie finally has the impact of queering the show as he remains partnered to Paul; but the rest of the show looks like it merely reinforces the heteronormativity of the world in general. Continue reading “News: Full casting for Company announced – but what does this really mean for a gender-switched production”
Camden Stands with Grenfell Tower: An evening of music and poetry in aid of Grenfell Tower Fire Fund.
Hosted by Ché Walker, Friday 23rd June sees a night of music and poetry in honour of the victims of the Grenfell Tower tragedy and to benefit the Grenfell Tower Fire Fund. Doors will open at 7pm, with the event starting at 7.30pm at Wac Arts’ premises near Belsize Park.
Tickets £20, £10 concessions: bookings can be made online here.
If you want to donate directly to the fund established by Queen’s Park Councillor Eartha Pond, the link is https://www.gofundme.com/grenfell-tower-fire-fund. Continue reading “News: Camden Stands with Grenfell Tower – an evening of music and poetry”
“Household rules and small decrees unsuspecting bring us these secret little tragedies”
Well Daniel Evans looks set to be continuing one of Chichester Festival Theatre’s longstanding traditions, of producing musical theatre that tempts the cognoscenti over to West Sussex in droves and which leads calls for West End transfers as soon as the curtain falls (if they had curtains in Chichester that is…). His first musical for the venue is a promising one too, an adventurous choice in Tony Kushner and Jeanine Tesori’s Caroline or Change, and an entirely successful one under Michael Longhurst’s direction and a genuinely superb cast.
It is 1963, the United States is in the grip of a civil rights movement but one whose effects haven’t quite trickled all the way down to the Deep South just yet. Caroline Thibodeaux is an African American maid in Lakes Charles, Louisiana working for a Jewish family, The Gellmans, for 30 dollars a week. But she’s a single mother of 4 and ends are barely meeting so when stepmother of the house Rose devises a plan to teach her 8-year-old stepson Noah not to leave change in his pocket, it’s a difficult one to resist despite – or maybe because of – all the racial, social and economic tensions it represents. Continue reading “Review: Caroline or Change, Minerva”