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”
“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”
“Perhaps the greatest risk any of us will ever take is to be seen as we really are”
Who knew what the world needed was a live-action version of Cinderella directed by Kenneth Branagh. It oughtn’t be as good as it is but somehow the fusion of Disney magic and folktale wonder comes together most effectively, thoroughly traditional in its outlook yet somehow still feeling fresh. Chris Weitz’s screenplay is based on Charles Perrault’s Cendrillon but both he and Branagh take lots of inspiration from the Disney version of the story too and the resulting confection is really rather bibbity-bobbity-beguiling.
There’s a cleverness too about what it does in spinning new details like giving us a reason that her step-family don’t recognise her at the ball and weaving much humour into the magic spells that get her to said ball. Ella herself is well pitched by Lily James, not quite too perfect to be true but still hugely appealing. It’s no wonder Richard Madden’s Prince Charming tumbles instantly for her (and she for him, those breeches…those boots!) and their chemistry is palpable, one can see why Branagh has cast them as Juliet and Romeo in his upcoming theatre residency in London. Continue reading “DVD Review: Cinderella”
“An Ogre always hides, an Ogre’s fate is known, an Ogre always stays in the dark and all alone”
I hadn’t originally intended to go to Shrek The Musical, certainly not this early in the run, never having seen the films and having a somewhat mixed reaction to the lead casting. The Nigels, Lindsay and Harman, intrigued me but Amanda Holden (I’ve never seen Britain’s Got Talent either) and Richard Blackwood did not appeal. But when an offer appeared on the show’s Facebook page, for £40 tickets at the front of the Upper Circle at a ridiculously cheap price of £15, I snapped up a pair as a birthday treat.
A big-budget production of the show had a relatively short run of just over a year on Broadway but a much-revised version went out on tour across North America last year and it is a copy of this scaled-down production that is now previewing in the Theatre Royal Drury Lane, directed by Rob Ashford and Jason Moore. It has a book and lyrics by David Lindsay-Abaire (also writer of the harrowing Rabbit Hole – talk about diversity!) and music by Jeanine Tesori, and according to my lovely companion for the evening, it cleaves very closely indeed to the first film in the franchise, right down to the same jokes being repeated. This is a review of an early preview, indeed there’s about a month of preview performances, so do bear that in mind as I have. Continue reading “Review: Shrek The Musical, Theatre Royal Drury Lane”
“We’ve only just met, but you need to get some perspective on the big picture”
Ordinary Days is a musical which played at the Finborough back in 2008 but has been slightly revised and revamped during runs in the USA and returns to London to Trafalgar Studios 2. Completely sung-through, Adam Gwon wrote the music and lyrics to all 18 songs which play out over a nifty 80 minutes and this production features two members of that original London cast, including the rather special Julie Atherton.
It is set in contemporary New York looking at the mundane lives of four young adults and how the problems in their lives forces them to seek and/or reassess the connections they make to get through life. As with so many modern American musicals, the immediate reference point seems to be Jason Robert Brown but I have to say there were moments when the music actually reminded me more of Robert Lopez and Jeff Marx’s work in Avenue Q which was nice. Continue reading “Review: Ordinary Days, Trafalgar Studios 2”
“I had never known what I was really like until I stopped smoking, by which time there was hell to pay”
I was looking forward to this, if only because it was my first trip to the Finborough Theatre: tucked away in Earl’s Court, this tiny fringe theatre has a sterling reputation and always has a highly varied programme, so off I went along the District Line to see what all the fuss was about. The play in question was Little Fish, advertised as the European premiere of a new musical by Michael John LaChiusa (a great name for a playwright, obviously I need to change mine so that I too can write musicals, Foster just ain’t exciting enough!)
The story is based on 2 short stories by Deborah Eisenberg, and revolves around a single New York gal, Charlotte, whose decision to give up smoking leads her down a path of startling self-realisation, as she comes to terms with her troubled past to try and deal with her current unhappiness and finally learn how to enjoy life in the city. It is presented in an episodic form, with key scenes from Charlotte’s past being interspersed throughout the modern day storyline of her trying to find activities to help keep her off the tobacco. I loved this portrayal of urban life as it felt so much more authentic than any number of television shows would have us believe, and the difficulties in maintaining friendships in the face particularly rang true.
Continue reading “Review: Little Fish, Finborough”
Not much more to say about this as the production is largely the same as that which we saw at the National but enjoyed so much that I wanted to take my little sister who was visiting for the weekend. The major change was a sadly enforced one as one of the actors Denis Quilley died of cancer just before the transfer opened, but there’s also a few new faces in the ensemble.
I think I might even have preferred it this time round, it suits the ‘proper’ theatre building it is now housed in and knowing what to expect meant my anticipation levels were sky-high (and fortunately met). This is definitely the kind of theatre I love and hope to see much more of now I live in London: who knows, I might even try and sneak in another visit to this!
Anything Goes is a Cole Porter show, directed here at the National Theatre by Trevor Nunn, which has to be one of the happiest, sunniest ways to spend an evening ever, this feel-good show really does work wonders and should be seen by everyone. Set onboard a cruise liner, there’s a tangled web of romantic intentions with singer Reno in love with Billy who loves Hope who’s engaged to an English Lord who just happens to be keen on Reno. Throw in people running from the law, a minor gangster and his moll and a bunch of tap-happy sailors, plus a generous dollop of schmaltz and everyone’s a winner.
Stephen Mears’ choreography which is played out on a relatively static set, the multi-level deck of the cruise liner, was probably my favourite element of the night, if pushed, the sheer imagination and skill on display is just breath-taking and magnificent to watch – the excellent tap numbers just make me want to learn to do it properly. But there’s no real weaknesses here and Porter’s music is just so full of classic songs that everything is just so irresistible, it really was one of those evenings where I didn’t stop smiling. Continue reading “Review: Anything Goes, National Theatre”