2020 Laurence Olivier Awards nominations

Award season kicks into another gear with the arrival of the nominations for the 2020 Olivier Awards – & Juliet, Fiddler on the Roof and Dear Evan Hansen lead the musicals pack, Death of a Salesman and Rosmersholm the plays

As ever, Laurence giveth and he taketh away and it’s all subjective anyway.

  • I’m really pleased to see the love for Amélie The Musical and The Ocean At The End Of The Lane but a little incredulous that Fairview received no nominations.
  • The weird category shuffle that often happens has landed on ‘Best Entertainment or Comedy Play’ and ‘Best Family Show’ this year, leaving Emilia and Fleabag in a weird place that isn’t ‘Best New Play’ (last year they were divided into ‘Best Entertainment and Family’ and ‘Best New Comedy’.
  • I had zero desire to see Fiddler on the Roof so can’t pass comment there but can’t help wishing the supporting role in a musical nominations weren’t quite so dominated by DEH.
  • & Juliet’s director Luke Sheppard could rightfully feel snubbed, given the wealth of recognition the rest of the production has received.
  • And whither Monica Dolan, Lucian Msamati, Melanie La Barrie, the cast of Three Sisters…(oh wait, they won the more significant award earlier in the year!)

Continue reading “2020 Laurence Olivier Awards nominations”

Review: Sara Bareilles and Gavin Creel in Waitress, Adelphi Theatre

It’s impossible to resist another visit to Joe’s Diner as Sara Bareilles and Gavin Creel begin their limited run in Waitress at the Adelphi Theatre

“I’ll slice and serve my worries away”

I wasn’t going to go back to Waitress, having enjoyed both my previous visits to the Adelphi Theatre where I was blown away by Katharine McPhee and then Lucie Jones in the leading role of Jenna. But then a genius casting move (surely this doesn’t count as stunt casting? who knows…🤷) saw the show’s composer and lyricist Sara Bareilles and Olivier and Tony Award winner Gavin Creel announced for a limited run and so I couldn’t help but book myself in for another slice of pie.

Both of them appeared in the show on Broadway so they’re clearly au fait with their roles but more significantly, they clearly share a special connection and so their electricity as Jenna and Dr Pomatter is off the charts. The shenanigans in the doctor’s surgery are always fun but here, they’re fricking hilarious as Creel and Bareilles bounce off each other while having the time of their lives and almost, almost, making you forget the slight ickiness of the boundaries that their incipient relationship crosses. Continue reading “Review: Sara Bareilles and Gavin Creel in Waitress, Adelphi Theatre”

My 10 favourite shows of 2019

I barely saw 250 shows this year, quiet by my standards! And as is the way of these things, here’s a rundown of some of the productions that moved me most…

1. The Curious Case of Benjamin Button, Southwark Playhouse
I haven’t lost it in a theatre as much as this in a good long while. I cry at all sorts but this superlative musical had me trying, and failing, to choke back huge, hacking sobs. And I can still sing some of the songs – it has to come back, surely. “It’s all just a matter of time…”

2. Call Me Fury, Hope Theatre
“This is the history we should be teaching, these are the stories we should be sharing”, this striking and soulful piece gave voice to so many whom history have ignored, and was bloody entertaining with it. 

3. West Side Story, Curve Leicester
A musical I love, in a production that I simply adored. Getting to see two WSSs in one year was a privilege and for me, it was the emotional heart of Nikolai Foster’s production that won out.

4. As You Like It, Queen’s Theatre Hornchurch
The second year of the Public Acts programme comes up trumps once again with this gorgeous musical version of the Shakespeare classic, community theatre at its finest.

5. Islander, Southwark Playhouse
The magic of musical theatre distilled into two voices and a loop pedal – a marvellously inventive and endlessly moving. 

6. Amélie the Musical, Watermill Theatre/UK Tour/The Other Palace
As sweet-sharp as a diabolo grenadine, something truly gorgeous emerges from this film adaptation that simply demands you come up with better words than quirky to describe it.

7. & Juliet, Shaftesbury Theatre
Tell me why… About as much fun as you can have in the West End right now, this is a particularly fine example of the jukebox model and I want it that way.

8. Sexy Lamp, VAULT
A standout piece in a standout festival, Katie Arnstein’s brutally honest monologue about navigating the patriarchy may be lightened with songs and sweets but is no less effective for it.

9. Karaoke Play, Bunker Theatre
Deeply confessional and subtly magical, Annie Jenkins’ inter-connected monologues combined to become so much more than the sum of their parts.

10. The Ocean at the End of the Lane, National Theatre
A magical family tale, perfect for kids of all ages. Not even reading the exit poll as I left could ruin the feeling! 

Shows 11-25 under the cut

Continue reading “My 10 favourite shows of 2019”

August theatre round-up

I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in August.

Joseph and the Amazing Technicolor Dreamcoat, aka the Sheridan Smith show
Queen of the Mist, aka the surprisingly affecting one
Appropriate, aka all hail Monica Dolan
Waitress, aka ZZZZZZZOMGGGGG STUNT CASTING oh wait, Joe Suggs hasn’t started yet
The Doctor, aka all hail Juliet Stevenson
A Very Expensive Poison, aka it was a preview so I shouldn’t say anything
Blues in the Night, aka all hail Broadway-bound Sharon D Clarke (and Debbie Kurup, and Clive Rowe too)
The Night of the Iguana, aka justice for Skyler Continue reading “August theatre round-up”

Review: Waitress, Adelphi Theatre

Fresh from Broadway, hit musical Waitress proves funnier and lighter than you might expect at the Adelphi Theatre

“Let’s see the next amazing thing baking does now”

True story, I didn’t love Waitress when I first saw it in my Broadway Blitz of 2016. But as it sometimes the way, upon listening to the cast recording again and then again, I fell for the show that way, and so was delighted with news of its UK premiere at the Adelphi Theatre.

To think of it as a big Broadway show is to misinterpret what it is trying to do though. Jessie Nelson (book) and Sara Bareilles’ (music and lyrics) adaptation of Adrienne Shelly’s 2007 indie flick is a subtler thing than much West End fare, an intimate story of pies, pregnancy and just how much we’ll put up with. Continue reading “Review: Waitress, Adelphi Theatre”

The Curtain Up Show Album of the Year 2016 nominees

Best UK Cast Recording
American Psycho – Original London Cast Recording
Close To You: Bacharach Reimagined – Original London Cast Recording
Funny Girl – Original London Cast Recording
Half A Sixpence – 2016 London Cast Recording
Kinky Boots – Original West End Cast Recording
Mrs Henderson Presents – Original London Cast Recording

Best American Cast Recording
Allegiance – Original Broadway Cast Recording
The Color Purple – New Broadway Cast Recording
Fiddler On The Roof – 2016 Broadway Cast Recording
Lazarus – Original Cast Recording
On Your Feet! – Original Broadway Cast Recording
Waitress – Original Broadway Cast Recording

Best Solo Album / Non Cast Recording
Cheyenne Jackson – Renaissance
Lin-Manuel Miranda – The Hamilton Mixtape
Idina Menzel – idina.
Kristin Chenoweth – The Art of Elegance
Nadim Naaman – Sides
Samantha Barks – Samantha Barks

CD Review: Waitress (Original Broadway Cast Recording 2016)

“I feel something needs to change”

It’s funny how your relationship to a show can change so dramatically. When I first heard Sara Bareilles’ concept album for her musical adaptation of Waitress, I thought it was pleasant without being particularly memorable. And whilst seeing it on Broadway, my mind got preoccupied with what I found to be pretty big issues in the book to the exclusion of pretty much everything else. 
 
But getting the cast recording in my hand and spending a rainy afternoon just listening to it over and over, I realised I had missed out on just how musically special it is. The lushness of the harmonies flesh out the songs in the most gorgeous way imaginable and somehow, it feels easier ignore the apparently lifelong questionable decision-making of our heroine and her lack of agency.
 
Instead, the focus falls more gently on the luscious soundscape – from the intoned beginnings of “sugar, butter, flour” that open up ‘What’s Inside’ and then echo throughout the score, through the delicate beauty of Jessie Mueller, Kimiko Glenn and Keala Settle’s hushed harmonising on songs like ‘A Soft Place To Land’ that are as smooth as cake batter, to Mueller’s deliciously sweet but restrained duet with Drew Gehling on ‘You Matter To Me’.
 
Mueller channels the conflicted energy of the titular Jenna perfectly, building up to the quiet storm of the climactic ‘She Used To Be Mine’, one of those moments of sheer perfection, but Bareilles’ score has its lighter moments too, especially with her male characters. Christopher Fitzgerald’s indefatigable Ogie has lots of fun whether in ‘Never Ever Getting Rid Of Me’ or ‘I Love You Like A Table’, and Dakin Matthews’ Joe gets to dispense fatherly wisdom in the country-tinged ‘Take It From An Old Man’.
 
So now I’m thoroughly in love with Waitress and really want to see it again. Let’s hope those rumours of a West End transfer next week are rooted in some semblance of truth!

 

Review: Waitress, Brooks Atkinson Theatre

“She is all of this mixed up and baked in a beautiful pie”

Hailed as the first Broadway musical with an all-female top-line creative team – music and lyrics by Sara Bareilles, book by Jessie Nelson, choreography by Lorin Latarro, and direction by Diane Paulus – Waitress marks something of a watershed moment. And even if it based on a film, that film was also written by a woman, the late Adrienne Shelly. One might wish for a slightly more substantial slice of something to take that credit but it’s still a rather lovely thing, not least for the slices of pie available to buy in the Brooks Atkinson Theatre.

Its saving grace is a superb leading performance from Jessie Mueller as Jenna, a waitress at Joe’s Pie Diner somewhere in the South in a town off of Highway 27. Married and pregnant, and not particularly happy about either, her dreams of opening her own pie shop (she bakes all 27 varieties on offer herself) seem increasingly far away. Until that is, a baking contest in a nearby county opens a window of opportunity, as does an affair with her unexpectedly handsome gynaecologist. Continue reading “Review: Waitress, Brooks Atkinson Theatre”

The Curtain Up Show Album of the Year 2016 winners

Best UK Cast Recording
American Psycho – Original London Cast Recording
Close To You: Bacharach Reimagined – Original London Cast Recording
Funny Girl – Original London Cast Recording
Half A Sixpence – 2016 London Cast Recording
WINNER: Kinky Boots – Original West End Cast Recording
Mrs Henderson Presents – Original London Cast Recording

Best American Cast Recording
Allegiance – Original Broadway Cast Recording
The Color Purple – New Broadway Cast Recording
Fiddler On The Roof – 2016 Broadway Cast Recording
Lazarus – Original Cast Recording
On Your Feet! – Original Broadway Cast Recording
WINNER: Waitress – Original Broadway Cast Recording

Best Solo Album / Non Cast Recording
Cheyenne Jackson – Renaissance
WINNER: Lin-Manuel Miranda – The Hamilton Mixtape
Idina Menzel – idina.
Kristin Chenoweth – The Art of Elegance
Nadim Naaman – Sides
Samantha Barks – Samantha Barks