A wonderfully warm-hearted production makes the regional premiere of Priscilla, Queen of the Desert a show to see at the Queen’s Theatre Hornchurch
“We dress up in women’s clothes and parade around mouthing the words to other people’s songs”
It’s easy to dismiss the jukebox musical as a lazy iteration of the form. And whilst there are shows that worthy of such a slight, there are others which deserve far better. Stephan Elliott and Allan Scott’s adaptation of Priscilla Queen of the Desert is one of those, a musical which has worked hard to integrate its music into its storytelling in interesting and different ways, allied with a book that is moving and funny and just a little fabulous. Directed by Douglas Rintoul for Queen’s Theatre Hornchurch, this production marks the show’s regional professional premiere.
One of Rintoul’s innovations is to make this an actor-musician production, a decision that pays off handsomely here. There’s a wonderful sense of democracy about this ensemble, who subsume the singing parts of the Divas here, as everyone gets a moment (or three) to shine under the Australian sun. To name but a few, a burst of stunning vocals from Molly-Grace Cutler aka Keyboard 2/Jules, the raucous slide of Natasha Lewis’ trombone, the sure-fingered delicacy of Josh Tye’s acoustic guitar (at its best as the interval comes to a close). Continue reading “Review: Priscilla Queen of the Desert, Queen’s Theatre Hornchurch”
“Been working so hard
I’m punching my card
Two hours for what?”
Jeez Louise, it gives me no pleasure to report this production of Footloose
is among the worst things I’ve seen this year. Jukebox musicals are fine in their place, movie adaptations likewise are ever increasingly the norm but they need love and inspiration to elevate them, rather than the workaday effort and dead-eyed calculation they get here.
Perhaps its the result of coming at the tail end of over a year’s touring, perhaps it was a crowd not quite as enthused as the audience of a feel-good show need to be to give it that lift, perhaps it’s just not very good. There’s a real sense of mechanical action about the production, everything moves in the correct way but there’s zero spontaneity here, little sense of the precious ‘liveness’ of great theatre.
If you can’t get a Strallen, then book a Nolan – Maureen is the show’s strongest asset as the only cast member to really try and bring any heart to her performance. The rest just make you wish that the ban on dancing was more strictly enforced, as well as mugging as if this was a panto. By the time Gareth Gates is wheeled out to strip down to hotpants, you’ll long be wishing that you could cut loose.
Running time: never has 2 hours 30 minutes felt so much like a lifetime
Booking until 30th September, then playing Royal Court, Liverpool 30 October-3 November
“I concluded from your airs and manners that you were bred in Tufnell Park”
The Kissing-Dance is a Howard Goodall musical with lyrics and book by Charles Hart which is based on the 18th Century Oliver Goldsmith classic comedy She Stoops To Conquer. Set over one long night in Nonesuch, somewhere in the English countryside on All Fools’ Eve, it’s a story of comic misunderstandings as a London suitor is fooled into believing his prospective father-in-law’s house is an inn by the cheeky Tony Lumpkin, causing his intended to test his honour with her own scheme to foil her mother’s plans for her, whilst other secret affairs are revealed, missing family jewels cause consternation and general mayhem ensues until the sun finally rises again.
Following on from the well-received but prematurely-closed Love Story, The Kissing-Dance reveals a slightly more playful side to Goodall’s composing, embracing an English pastoral influence which allied to the wit of much of Hart’s lyrics, makes this really quite a sprightly affair. There are moments that feel almost like Gilbert & Sullivan, especially in the multi-layered finale to Act 1 with its many counterpointed melodies creating a harmonious delight. It wasn’t always so successful though, the title song feeling a little out of place with the rest of the show and not helped by being sung by the servants oddly, a small thing but still a bump in an otherwise smooth ride. Continue reading “Review: The Kissing-Dance, Jermyn Street”