“Tale as old as time”
It’s taken me a little time to get round to writing this review, which is rarely a good sign, as I was struggling for anything entirely constructive to say about this film. The 1991 animated Beauty and the Beast was Disney close to its best but these days, nothing is left alone if it has even the merest hint of cash cow about it. So it has previously hit the stage as a musical and following the success of Kenneth Branagh’s Cinderella, it now has a cinematic live-action remake.
Which is all fine and good but just because you can do something doesn’t mean you should. And at no point does Bill Condon’s film ever convince us that the world needed this version of Beauty and the Beast, there’s rarely any sense of it bringing something new and insightful to the story. Plus the contortions it (and star Emma Watson) has had to make to try and convince of its feminist credentials scarcely seem worth it in the final analysis. Continue reading “Film Review: Beauty and the Beast (2017)”
“My heart should be wildly rejoicing”
Rodgers and Hammerstein’s undeniable classic of a score, Paul Kerryson’s outgoing musical production as Artistic Director, a shining light of the British musical theatre taking on an iconic leading role – the ingredients are certainly there for something magical to appear this Christmas in Leicester. But to be perfectly honest, I couldn’t help but feel just a little disappointed by this version of The Sound of Music, whilst recognising that it is perhaps a choice in terms of failsafe festive programming.
Kerryson has been responsible for some brilliant reimaginings of West End stalwarts – most recently Chicago and Hairspray – but it is immediately apparent here that this is going to be as traditional as they come, even old-fashioned in its insistent reliance on flying cloths in Al Parkinson’s pastel-hued design. They undoubtedly have a spatial grandeur (the stained-glass reflections in the abbey in particular) but they also sap the pace of the production terribly as they’re wangled into place time and time again. Continue reading “Review: The Sound of Music, Curve”
“I heared a lot of stories an’ I reckon they’re true”
A nip into Wigan whilst up at my parents’ for Bonfire Night paid great dividends with the My Fair Lady soundtrack and this DVD popping up in the same charity shop. I was particularly excited for Oklahoma! as it has Josefina Gabrielle in a lead role: becoming aware of her in recent years, I have only seen her in supporting roles and loved her immensely in almost every one. It also has Hugh Jackman whom I saw a snippet of in Hey Mr Producer! just a couple of weeks ago, which introduced me briefly to the concept of him as a musical theatre star, something that’s still a bit odd. My favourite bit of Rodgers and Hammerstein’s first musical though is how it confirms that everyone thinks they’re a great dancer when on drugs!
Trevor Nunn’s 1998 production for the National Theatre takes an impressively gritty approach to the show which undercuts the popular notion that musicals are all cheery jazz hands and nothing more. Yes there is splendid choreography from Susan Stroman which sparkles with a marvellous joie de vivre but it comes in scenes when people are coming together for a good time, market day or the big ball, and they are captured beautifully here. But alongside this, is no attempt to hide how tough day-to-day life is for these people and the violence that underscores much of life on the ranches and farms. Continue reading “DVD Review: Oklahoma!, National Theatre”
As May is my birthday month, and this year brings with it a particular milestone (30!), I decided that I would treat myself to as many shows as I could manage, and I could not imagine not managing to squeeze in at least one of the long-running musicals that form the bedrock of much of London’s theatreland. Having already seen Joseph twice this year, my thoughts turned to Les Misérables, and lastminute.com duly obliged with some half-price tickets. Les Mis is up there with Joseph in terms of having seen many, many productions, I think this was show number 11 for me, and yet I never tire of it.
Based on the Victor Hugo novel by Alain Boublil, and with music by Claude-Michael Schonberg, it follows the lives and loves of a group of characters on the fringes of society in revolutionary France, les misérables or the unfortunates. The number of characters may seem quite bewildering, but their stories incresingly intertwine, and the beauty of the play is that it deftly moves from the personal to the political and back again, thereby keeping the interest fresh and covering so many different aspects of human emotion as we flick from intimate love stories to revolutionaries preparing for battle to personal quests for revenge time and time again. Continue reading “Review: Les Misérables, Queens”