SLAM. theatre give a warm account of Adam Gwon’s amiable musical Ordinary Days at the Cockpit Theatre
“I’ll bring the red, you bring the white
That way I’ll still get drunk, you’ll still be right”
Having been around a bit, I love the fact that the first time I saw Adam Gwon’s Ordinary Days at the Trafalgar Studios in 2011, it just happened to feature such actors as Alexia Khadime, Daniel Boys and the glorious Julie Atherton in the cast. I also caught a stirring version a couple of years ago from Streetlights, People!, proving it is a musical that endures and so I was interested to see SLAM. theatre’s interpretation over at the Cockpit Theatre.
At first glance, Ordinary Days appears just that, a simple four-hander about love and life in New York. But pay a little attention, peel back a layer or two, and there’s something much more nuanced here about the loneliness that can accompany metropolitan living, whether looking for romance or friendship, as the emotional distance we use to try and protect ourselves can sometimes end up isolating us. And also how art galleries aren’t necessarily all that… 😉 Continue reading “Review: Ordinary Days, Cockpit Theatre”
Four cracking performances make [title of show] a musical highlight of the month at the Above the Stag Theatre, more than holding its own with the West End
“A musical about two guys writing a musical about two guys writing a musical”
In a month full of major West End musicals opening, [title of show] is a glorious example that bigger isn’t always better. In the studio at the Above the Stag Theatre, something special is on offer, perfectly suited to the intimacy of the space and highlighting some pretty serious musical theatre talent about which we should be shouting as loud as we do those with their faces on billboards on the Strand.
Hunter Bell (book) and Jeff Bowen’s (music and lyrics) meta-musical of musical theatre injokes as it depicts two guys called Hunter and Jeff responding to a call for submissions to the New York Musical Theatre Festival. And looking for inspiration, they decide to write a show about two guys called Hunter and Jeff responding to a call for submissions to the New York Musical Theatre Festival, using their own words verbatim and bringing two friends onboard as well. Continue reading “Review: [title of show], Above the Stag”
“If everyone’s got a big picture
How come my picture’s something that I still have yet to see?”
I saw Adam Gwon’s 2008 musical Ordinary Days downstairs at the Trafalgar Studios back in 2011 with a grand cast that included Julie Atherton, Alexia Khadime and Daniel Boys and enjoyed it a fair bit, so news of a new production by Streetlights, People! at the transplanted London Theatre Workshop (now in the City) was glad tidings indeed. Directed by Jen Coles on the simplest of sets, decorated with a Manhattan skyline by Samantha Cates, the show’s relatable charms shine through once again.
The four-hander is a deceptively simple show – a quartet of 20-something New Yorkers are spiritually lost, swept up in what should be the romance of the city but finding that adulting isn’t quite as easy as all that. Jason is sacrificing everything for the woman he loves but Claire’s previously broken heart just won’t heal properly; grad student Deb has lost months of valuable thesis research but when struggling artist Warren finds it, she stubbornly resists any attempt at connection that he makes. Continue reading “Review: Ordinary Days, London Theatre Workshop”
“All along knowing that no-one has returned to care”
Barely managing six months in the West End in 2013/4, I think it’s fair to say the musical adaptation of From Here to Eternity
underwhelmed. And though I was reasonably fair to it at the time, I can’t say that it has aged well, upon returning the live cast recording that was made before the final curtain fell, blame seeming to fall evenly between composer Stuart Brayson, lyricist Tim Rice and book writer Bill Oakes.
And with weaknesses on all sides like this, very much exposed in the medium of record, it’s not too hard to see why the show didn’t achieve anywhere near the levels of success it was aiming for. There’s so little sense of the main thrust of the story coming through, or indeed any of the strands put forward being sufficiently developed, to make you care about any of the relationships or the plight of the men.
Oakes’ book moves inconsistently around all of them and Brayson’s score does little to provide any covering connective tissue. His musical influences pull from too broad a canvas to provide aural cohesion and far too few of the songs are focused on advancing narrative – the coupling of Warden and Karen (whose surf-soaked bodies provide the iconic image) are given hardly any musical time together, quite Darius Campbell and Rebecca Thornhill are meant to do to generate chemistry in solo numbers is beyond me.
Robert Lonsdale and Siubhan Harrison as the other couple fare a little better but again, are more apart than together musically. What we’re left with is a grab-bag of tunes, barely scratching the surface of anything, least of all the men of G Company whose tragic fate ends up feeling like divine retribution for being horrific human beings. There’s undoubtedly some halfway striking musical moments – the startling melody of ‘Thirty Year Man’ provides real interest, Ryan Sampson’s sardonic ‘I Love The Army’ threatens to show some character but all in all, it’s little surprise we’ve gone from here to obscurity.
“I’m a poached cake without a piece of toast
Yorkshire pudding without a beef to roast”
It’s no secret at all that I love a good old-fashioned musical but it is hard to feel that we need more of them in the world. PG Wodehouse’s A Damsel in Distress started life as a novel in 1919, has been adapted on both stage (with Ian Hay) and screen, where it was augmented by a suite of songs by George and Ira Gershwin, and now finds itself as a piece of musical theatre with a new book by Jeremy Sams and Robert Hudson and vibrantly directed and choreographed by Rob Ashford.
With a cast that contains Richard Dempsey, Isla Blair, Nicholas Farrell, Sally Ann Triplett, plus the requisite Strallen (Summer, in this case), there’s little about which to complain. Yet I find myself grumbling a little, the bar at Chichester has been set so extraordinarily high with their recent successes, that even a very good production can seem a little lacklustre by comparison. And with so many great ‘traditional’ musicals of this form in the canon, do we really need new ones to be constructed? Continue reading “Review: A Damsel in Distress, Chichester Festival Theatre”
“As a child I went wild when a band played
How I ran to the man when his hand swayed”
How else would you start December but with two theatrical productions of White Christmas
in quick succession… But where London has a more predictable, traditional take on the hoary old classic with the well-established touring production faithfully replicated, Leeds has a reimagined and reinvigorated version which makes it altogether a more intriguing proposition in the hands of esteemed director Nikolai Foster (whose forthcoming artistic directorship of the Curve in Leicester looks to be most promising indeed) (PS he’s no relation).
I left the Dominion Theatre in London quite well inclined to the show as it does tick all the boxes, perhaps in a somewhat perfunctory manner but with dollops of old-school charm. But freed from those constrictions, Foster is able to give us a fresh new take which is retro rather than old-fashioned, taking its cues from 50s Americana in Matthew Wright’s glorious revolving design. And with arrangements refreshed with a real musical intimacy and integrity by orchestrator Jason Carr and choreography revitalised by Nick Winston, this is a creative team firing on all cylinders.
And delivering the fruits of their labour is a cracking cast who bring an unexpected depth to the we-gotta-put-on-a-show story. The root of Darren Day and Oliver Tompsett’s relationship as Hollywood stars is firmly in their shared past as WWII veterans and Emma Williams and Holly Dale Spencer, as the Haynes sisters for whom they fall on their Vermont holiday, perfectly capture the contemporary sensuality which is just irresistible. And so as Bob and Phil and Betty and Judy sing and dance their way to saving the day, their combined chemistry ensures a real investment in the show (even as it stretches out just a tad too long) especially in Williams and Spencer’s heartwarmingly lovely performances.
There’s great support from the rest of the talented company too – Melanie La Barrie darn well nearly steals another musical (after a barnstorming turn in Guys and Dolls
– seriously, when is someone going to put this woman front and centre in a show?!) with a show-stopping rendition of ‘Let Me Sing and I’m Happy’, Siôn Tudor Owen’s Ezekiel Foster (no relation to Nikolai, or me for that matter) and Andrew Jarvis’ General Waverly both light up the stage in their own way, and the cumulative effect of everyone’s enthusiasm more than fills the vast auditorium as the long-awaited comes to pass as it surely must do. London 0 Leeds 1 by my count.
Running time: 2 hours 40 minutes (with interval)
Booking until 17th January
“I got the ‘ain’t where I wanna be’ blues”
Suffering the fate of a fair few musicals that have taken up residence in the slightly-too-out-of-the-way Shaftesbury Theatre, From Here To Eternity announced its early closing last year and since then the end has drawn even closer with the final date being moved from the end of April to 29th March. I wasn’t blown away by it on first viewing but I had thought I might be tempted to see it again to see how it stood up to repeated viewing and also to get another listen to Stuart Brayson’s naggingly persistent score. But to be honest, it didn’t really work out that well.
A sadly small audience robbed the theatre of atmosphere despite the cast’s best efforts – it was however nice to see Marc Antolin doing well standing in for Ryan Sampson as Maggio – and there is no escaping the strange weighting of the show towards trying to make empathetic figures out of a largely objectionable group of people, especially in the racist, adulterous, misogynistic, homophobic bullying G Company. Continue reading “Re-review: From Here To Eternity, Shaftesbury”
“Don’cha like Hawaii?”
From Here to Eternity marks the return of noted lyricist Tim Rice to the London stage with this new adaptation of this World War II story, probably best known in its film incarnation and its iconic shenanigans in the surf. This treatment harks back to the original novel to introduce darker elements to the story yet it has also been transformed into a traditional West End musical, which brings with it a certain style that doesn’t always sit too well together with the material.
Set in the adulterous, misogynistic, homophobic, racist and bullying atmosphere of the G Company barracks in Hawaii in the summer of 1941, Bill Oakes’ book – based on James Jones’ novel of his own experiences – has a strangely disjointed quality as it struggles to weave together its three main strands. First Sergeant Milt Warden is hot for his captain’s lascivious wife; new arrival Private Robert E Lee Prewitt is less concerned about joining the corps’ boxing team and falls in love with call girl Lorene instead; and Private Angelo Maggio spends his time ducking and diving, making a quick buck by fraternising with the island’s gay population. Continue reading “Review: From Here To Eternity, Shaftesbury Theatre”
“Just a steel town girl on a Saturday night”
I was originally meant to see Flashdance -The Musical at the Shaftesbury Theatre a couple of weeks ago but that first preview was cancelled due to technical difficulties, so when I finally made it to one of the last previews, my heart sank as we waited for the curtain to rise and the announcement came that the start of the afternoon’s show was being delayed due to, you’ve guessed it, technical difficulties! Having been outraged at the merchandising in the foyer (£60 for a special Barbie! £15 for a pair of legwarmers!) I was thus prepared with sharpened knives for what was coming my way. Perhaps my lowered expectations had something to do with then, but I ended up having quite a good time!
Based on the Paramount Pictures film, Flashdance – The Musical has a book by Tom Hedley & Robert Cary, music by Robbie Roth and lyrics by Robbie Roth and Robert Cary, but also features choreography from Arlene Phillips (who really does belong back on our screens at the weekend). Set in Pittsburgh in the 1980s, we meet Alex, apprentice steel welder by day, club dancer by night (who isn’t!) who dreams of love and life in dance school. Watching this reminded me of just how many times I have seen variations of this story played out in countless films, of someone fighting against the odds to, delete as appropriate, date a black guy/rise above working class roots/honour a dead relative/not be a stripper and get to the audition in time to wipe the smile off that smug auditioner’s face in order to secure a place at an amazing dance school for which they are eminently unsuitable. But I love each and every one of them, there’s nothing like a cheesy teen dance film to raise the spirits! And as Flashdance got in there at the beginning, it can consider itself mistress of the genre. Continue reading “Review: Flashdance – The Musical, Shaftesbury”