Kenneth Branagh releases a trailer for Death on the Nile, starring Gal Gadot, Armie Hammer, Letitia Wright, Annette Bening and bloody French and Saunders!
Me after watching Murder on the Orient Express: never again, Branagh, never again
Branagh: but what if I cast both French and Saunders in a film…
Continue reading “Film news: Death on the Nile trailer released”
A vital piece of gay history is unearthed in LGBT+ musical The View UpStairs at the Soho Theatre
“In this kingdom we’ve found
Where the queens and clones collide
And though it reeks of cheap cologne
It’s my favorite escape from the world outside”
There’s something so powerful about the power of theatre to educate as well as ilustrate. The 1973 arson attack that took the lives of 32 people in a New Orleans gay bar was actually the most tragic hate crime until Orlando but it remains comparatively little known. So Max Vernon’s choice to use it as inspiration for his musical The View UpStairs is freighted with significance from the off.
And at its best, it is hugely powerful. A cross between a kind of oral history and musical theatre, it fleshes out the lives of gay people in 1970s USA in all its multi-faceted nature through its collection of what might at first be mistaken as stock characters. The aspiring drag queen, the sharp-edged hustler, the dreamy twink, the closeted musician, the lesbian ‘mother’, all are present and correct. Continue reading “Review: The View UpStairs, Soho Theatre”
Way down in Hadestown at the National Theatre is one of the best musicals of the year
“Damned if you don’t. Damned if you do.
Whole damn nation’s watching you”
I loved Hadestown so much that I had booked to see it for a second time before I even got home from the first. Read more about that trip here, including me trying the National’s new smart caption glasses, and read on for a review that focuses properly on Anaïs Mitchell’s brilliant musical here. An adaptation of the tale of Orpheus and Eurydice, developed with director Rachel Chavkin, it riffs on the myth by relocating the action to a dive bar in the Deep South and redefines hell for our capitalist age. And they fill the Olivier with music, such music, that transforms Hadestown into the kind of experience that lingers long in the mind.
Mitchell’s score succeeds so much because it establishes such an identity for itself that it dares you not to be seduced into the world of the gods, or at least New Orleans. At its best, its simply elemental – ‘Way Down Hadestown’ has the kind of tune that sounds like it has always existed and will not quit your brain anytime soon. And as you collect the influences – hints of Jason Robert Brown on ‘All I’ve Ever Known’, the Johnny Cash-esque call and response of ‘Why We Build The Wall’, the straight up musical theatre emotion of ‘Wait For Me”s chorus, to name but a few – you realise a new form of Americana has evolved here. Continue reading “Review: Hadestown, National Theatre”
I try out the new smart caption glasses while watching Hadestown at the National Theatre and am blown away both by the show and the frankly amazing technology
“Eurydice knew how to survive
Orpheus…knew how to live”
The exceedingly kind folk of the National Theatre allowed me to go and see Hadestown a few days after the press night, as I was most keen to have a try of the Smart Caption Glasses which were brought into circulation on Friday. Acclaimed as “a revolutionary new way for people with hearing loss to enjoy performance”, for once the blurb more than lives up to its billing as I found them to be truly innovative and potentially life-changingly good.
Without wishing to open a whole can of worms about access and diversity within the critical community, it has to be said that as a (deaf) reviewer, I never get to go to captioned performances. If and when they’re scheduled, the timetables just don’t allow for it, so – as in most of my daily life – I make do. I hear what I hear and guess the rest. So the idea of this facility becoming available was one I was most keen to investigate at the earliest opportunity. Continue reading “Review: Hadestown, via smart caption glasses at the National Theatre”
“Could you ask as much from any other man?”
Andrew Lloyd Webber sure doesn’t make it easy – for his support of new musical theatre in taking over the St James Theatre to making a transatlantic dash to the House of Lords to vote in support of tax credit cuts for the working poor, it’s hard to know where to stand. His status in the British theatrical establishment remains largely unchallenged though and it is to the 46-year-old Jesus Christ Superstar that the Open Air Theatre in Regents Park have turned for their big summer musical, directed this year by Timothy Sheader.
And how do you play a 70s rock opera for today? You bring onboard shit-hot creatives like Tom Scutt and Drew McOnie to reinvent it for 2016. Scutt’s design choices make a virtue of the timeless iron structure that edges the stage. The company arrive in luxury sportswear, its loose silhouettes and muted earth tones akin to a Kanye West fashion show with which McOnie’s contemporary choreography meshes perfectly. Later scenes feature the glitter-covered muscularity of something like a late night Brighton Pride, a smattering of Xerxes from the film 300 and all out Sink the Pink excess during the whipping sequence. Continue reading “Review: Jesus Christ Superstar, Open Air Theatre”
“Everything was free”
A late jaunt to the National to The Suicide, Suhayla El-Bushra’s fiercely contemporary updating of Nikolai Erdman’s 1928 play, before it closed. Though I have to say I wasn’t entirely convinced by it, Nadia Fall’s production is visually hugely ambitious, retooled for the world of YouTubers and hipsters, but ultimately feeling as shallow as the societal trends that it is trying to satirise.
Javone Prince’s Sam Desai is long-term unemployed and newly bereft of benefits, so disillusioned with the world is he that he decides to top himself but when a film clip of him making that decision goes viral, he’s swept along for the ride as all of society try to co-opt him for their own ends. To publicise a café, to get a music deal, to highlight the lack of adequate mental health care. Continue reading “Review: The Suicide, National”
“At the top of the hole sit the privileged few”
And it is mostly the privileged few who’ll get to see this lavish English National Opera production of Sondheim’s oft-revived Sweeney Todd: The Demon Barber of Fleet Street as stalls seats will set you back an eye-watering £95, £125 or £155. Somewhat cheaper seats are available from the upper circle upwards but still…* Lonny Price’s semi-staged production (with its nifty fake-out of a beginning) was first seen in New York in March 2014 but unsurprisingly, given it featured Emma Thompson and Bryn Terfel as Mrs Lovett and the demon barber himself, it declared “there’s no place like London” and has now taken up residence in the Coliseum alongside a cast of nearly 40 musical theatre veterans (and Thompson’s daughter) and a lush-sounding orchestra of 60.
Thompson and Terfel may be the headline names but the real pleasure comes in the luxury casting that surrounds them. Philip Quast and John Owen-Jones bring a richness of vocal to Judge Turpin and Pirelli respectively, Alex Gaumond and Jack North both mine effectively Dickensian depths to Beadle and Toby and there’s something glorious about having the marvellous Rosalie Craig here, even in so relatively minor a role as the Beggar Woman as her quality shines through despite that wig. Matthew Seadon-Young and Katie Hall as Anthony and Johanna are both really impressive too, their voices marrying beautifully as they respond intuitively to the textures of David Charles Obell’s orchestra. Continue reading “Review: Sweeney Todd, London Coliseum”
“You sing cliché
I’ll sing haiku”
There are, in the main, two types of people in the audience for Forbidden Broadway
. There’s your devotees who preach evangelically about this Broadway legend and the previous times it has come to the UK, the ones who laugh in anticipation of the jokes that they probably know already, and then there’s the more regular folk who might find themselves just a little turned off by the smugness of a show that is essentially one big inside joke.
Gerard Alessandri’s original concept, augmented here with additional material from Phillip George, is indubitably a classic – making viciously biting fun of the biggest shows to hit (and miss) our stages such as Once, Les Mis, The Book of Mormon
etc and this iteration of the show has its West End-specific references too, The Pajama Game
and Charlie and Chocolate Factory
come in for a hammering here, there is indeed much to laugh at.
Continue reading “Review: Forbidden Broadway, Menier Chocolate Factory”
“It’s a no, it’s a yes, it’s a no from me”
One of the most profitable television franchises in the UK, a much-loved comedian writing the book, a £6 million budget…there’s clearly considerable heft behind the latest musical to establish itself in the London Palladium. But the marriage of Harry Hill’s bizarre comic sensibility, Steve Brown’s bright if hollow score and the ITV juggernaut that is the X-Factor makes for uneasy bedfellows, Sean Foley’s garish production eschewing any kind of subtlety for the broadest kind of populist swoop.
I Can’t Sing is a show that constantly wants to have its cake and eat it. Faux-Dermot presenter Liam O’Deary gets a laugh by exasperating at one point “I don’t know why you might be charged” when the phone lines have closed, presumably the response “because they continue to make money for the production company” was mixed in previews. The TV show’s heavy reliance on tear-jerking backstories is a running gag yet nothing dispels the myth that that is the way to get noticed on a talent show. Likewise the qualifications of the panel to be judges of a popular music contest are skewered yet they remain feted as a special brand of celebrity. Continue reading “Review: I Can’t Sing, Palladium”
“Just a little touch of star quality”
I haven’t done many reviews of soundtracks to shows since starting to cover CDs on here, focusing more new writing and solo albums from MT performers, but I don’t know why not as I listen to them just as much. The first I’ll cover will be the OLCR of the 2006 revival of Tim Rice and Andrew Lloyd-Webber’s Evita, a production which revitalised this stalwart of a show in a way that I didn’t think possible and introduced me, and the rest of London’s theatregoers, to the glories of Argentinean star performer Elena Roger.
The soundtrack, edited highlights rather than the full score, captures much of what made that production so vibrant so that it doesn’t really matter that we don’t have any of the striking visuals and choreography that accompanied this Latin American infused remounting. The orchestrations have been totally refreshed in line with this re-envisioning and with Roger’s singing leading the company, there’s just a greater sense of authenticity about the whole shebang. Continue reading “CD Review: Evita 2006 London Cast Recording”