All change on the Strand for Dreamgirls and Kinky Boots post closing notices at the Savoy Theatre and Adelphi Theatre respectively, and I revisit both.
“Never let ‘em tell you who you ought to be
Come mid-January, the Strand will look a fair bit different for theatregoers as both Kinky Boots and Dreamgirls have posted advance closing notices, leaving the Adelphi and the Savoy respectively on the same date, Saturday 12th January. As sad as it is to see any show close though, both of these musicals have had a fairly decent run (Kinky Boots opened in August 2015, making it nearly 3 and a half years; Dreamgirls in November 2016, reaching two) and given how merciless the commercial market can be, I think both productions can hold their head up high with their West End runs.
And getting ahead of the game with those closing notices means that people still have many the opportunity to catch either or both of these shows before the final curtain. (I should add too, that both shows have announced that they will be touring the UK going into 2019.) I’ve paid both a revisit relatively recently and am happy to report that they both remain well worth seeing, due to some mighty fine performance. Oliver Tompsett has only just stepped into the role of Charlie Price but he is nigh-on perfect casting and his majestic voice suits Cyndi Lauper’s score down to a T and he’s clearly getting on well with Simon-Anthony Rhoden’s impressive Lola. Continue reading “Re-review: All change on the Strand for Dreamgirls and Kinky Boots”
Falling in love with Marisha Wallace in Dreamgirls is far too easy!
“You want all my love and my devotion”
As Dreamgirls goes into its second year in the West End and has just welcomed a new cast into the Savoy, what better time to revisit this most glittering of musicals. I must admit to going in with something of a sceptical mindset last time around, both in trying to resist the hype and letting thoughts of ticket prices and imported US leading ladies play on my mind. But all such things aside, this really is a belter of a show, a glowing, full-throated roller-coaster of an experience.
Marisha Wallace, Moya Angela and Karen Mav now share the role for which Amber Riley has won pretty much every award going and tonight’s Effie was the delightful Wallace, a powerhouse of a presence who pretty much nails it from start to finish. Another visitor from Broadway Brennyn Lark’s Deena is well played but I really loved Asmeret Ghebremichael’s Lorrell, possibly becoming the brightest of the Dreams despite the way the script goes. And off the men, Joe Aaron Reid’s Curtis remains a villainous delight.
It’s always lovely to see ensemble members be rewarded for their hard work and both Tosh Wanogho-Maud and Kimmy Edwards have made the leap, now playing Jimmy Early and Michelle Martin respectively. And the production as a whole remains as slick and shiny as it did when it first opened – with all those crystals, how could it not! Keep your eyes peeled for deals on the off-chance they pop up, or take a chance on TodayTix’s daily lottery – it’s worth the shot. And if that weren’t proof enough, here’s some productions shots courtesy of Dewynters. Continue reading “Re-review: Dreamgirls, Savoy”
“The time has come for my dreams to be heard”
That it took so long for the UK premiere of Dreamgirls to arrive (35 years after its original Broadway opening), it is little surprise to see that it has taken a mere few months for the Original London Cast Recording to appear, released by Sony Masterworks Broadway today (Friday 12th May). Capitalising on the show’s extraordinary success at the Savoy (read my review here) and the two Olivier Awards wins for Amber Riley (Best Actress in a Musical) and Adam J. Bernard (Best Actor in a Supporting Role in a Musical), this double-album was recorded live in the theatre over four performances in February 2017 with no additional studio re-recordings or musical overdubs.
The choice to go for a live recording is an interesting one. There’s an undoubted raw energy that comes from the material not just being sung but being performed that makes certain numbers really pop. And then there’s the double-edged sword that is the audience reception – on the one hand it can be spine-tingling effective to hear how enthusiastically the work is being received but on the other, it doesn’t always translate without the accompanying visual and let’s be honest, the recording doesn’t gain anything from having Amber Riley’s entrance applause so volubly present. Continue reading “Album Review: Dreamgirls Original London Cast Recording (2017)”
“In the morning this feeling will be gone”
There’s over one million Swarovski crystals incorporated into this production of Dreamgirls which presumably explains why ticket prices go unashamedly up to £125 – Daddy’s crystal curtains, all 3 of them, don’t come cheap. In many ways, I don’t deny Dreamgirls the extravagance, it’s good to have a huge rollercoaster blowout of a blockbuster musical every now and then, it helps to balance the slightly more serious-minded ones about suicide and cancer. But it helps to be wary about that creeping top line, no matter how many five star reviews this show may garner, surely such pricing cannot be allowed to become the norm in the West End.
Part of the reason Dreamgirls can get away with it is that it has had a 35 year build-up. With book and lyrics by Tom Eyen and music by Henry Krieger, the original Broadway production premiered in 1981 and was a big success and though it may not have crossed the ocean, much of its music has, including cabaret staples ‘And I Am Telling You I’m Not Going’ and ‘One Night Only’. So it is hardly the risk of a new musical, though that it how is will be categorised, and thus it has been priced accordingly. Fortunately, the Savoy is not so big a theatre that the Grand Circle ain’t a perfectly decent to watch the show from. Continue reading “Review: Dreamgirls, Savoy”
“That’s just the fallout people”
Atomic bombs derive their destructive power from nuclear fission, when atoms split after being bombarded with other particles, and there’s a certain sense of random elements being thrown together in Miss Atomic Bomb, in the hope of reaching some kind of critical mass. Comedy gangsters, tap-dancing routines, comedy bank managers, dead sheep, comedy zucchini, pigs in clothes, comedy transvestites, hoedowns, comedy rabbi costumes, a Strallen and a character with a ridiculous surname because you can get a song out of it. Put them altogether and what do you get? A show that’s either a bomb or a blast.
Full disclosure, I saw a preview and I’m given to believe that a lot of work has happened to the show in the last couple of days, which is only natural for a new musical. For me though, the show feels fundamentally flawed in really not knowing what it wants to be. Writers Adam Long, Gabriel Vick and Alex Jackson-Long throw together satire and slapstick uneasily as a desperate Las Vegas hotel manager arranges the Miss Atomic Bomb beauty pageant to drum up tourist trade as the US military test their atomic arsenal in the Nevada desert. Continue reading “Review: Miss Atomic Bomb, St James”
“Me with music and you the words“
Menier Chocolate Factory Christmas musicals have a habit of making the leap into the West End and given the rapturous reception that Sondheim’s Merrily We Roll Along received last year, it was no surprise to hear that it would make the well-deserved transfer into the Harold Pinter Theatre for a 12 week engagement. My original review of the show can be read here and perhaps not unexpectedly, very little has changed of my feelings about this rather magnificent production. But more surprising was how little I felt it had changed in the considerably larger space of this new theatre.
It’s a good six months since I saw it so perhaps my memory isn’t too reliable but it really does feel very similar indeed, Soutra Gilmour’s design slots into the theatre in a similar fashion and the staging – although expanded to fill the space – moves around it in the same way. Not that this is a bad thing, but rather that I’m not exactly sure about how it might play from further back or up in the theatre than you’d ever be in the Menier. Where the lack of discernible difference is a definite boon though is in the performance level. Continue reading “Re-review: Merrily We Roll Along, Harold Pinter”
“We go way back, never forward”
Sondheim’s Merrily We Roll Along famously flopped on Broadway when it opened in 1981 but now refined and reappraised, it is considered amongst his finest work and this Menier Chocolate Factory production serves to bolster that reputation. Directed by Maria Friedman, no stranger to Sondheim’s work as an actor but making her professional directorial debut here, the story traces the fortunes of Franklin, Mary and Charley, three writer friends buzzing with creative energy and determined to make their mark on the world. Real life intervenes though and the mistakes, sacrifices and compromises made in their lives as success changes them in unexpected ways are highlighted and heightened by a reverse timeline which sees Sondheim and book writer George Furth move scene by scene from 1976 to 1957.
It is Franklin who lies at the heart of the story. An unsympathetic figure who we meet as the height of his unlikeability in the midst of a soulless Hollywood party, it is to Mark Umbers’ immense credit that he makes this man such an intriguing person, transcending the limitations of the book which provides little clue as to his motivations. Umbers’ Franklin sparkles with a seductively easy charm that makes him understandably hard to resist and suggests that it not with malice that he rides roughshod over others, but rather that his head is simply too easily turned by the next new bright thing. Jenna Russell’s Mary’s slow self-destruction as unrequited love eats her from the inside is just devastating to watch, all the more so for being played in reverse and realising just how long she has held a flame for her friend, and Damian Humbley’s well-judged Charley has a geeky reticence that explodes in fine style with a delicious rip through ‘Franklin Shepard, Inc’. Continue reading “Review: Merrily We Roll Along, Menier Chocolate Factory”