This production of Into the Woods at the Cockpit Theatre brings it into the 21st century, not a strictly necessary move
“To have, to wed, to get, to save, to kill, to keep, to go to the festival”
One of the main reasons that fairytales have endured as long as they have is that they are timeless, their messages recited as-is at bedsides since time immemorial. Recognising this, Stephen Sondheim and James Lapine’s Into the Woods gives us a first half which takes us deep into this enchanted world as we know it and waiting until after the interval to show us what happens after happy ever after.
So the notion of updating the show to a specifically 21st-century context is an intriguing one, as director Tim McArthur draws in influences such as The Only Way is Essex, Made in Chelsea and Rab C Nesbitt. On the one hand, it offers a fresh take on well-known characters; on the other, it also provides a distracting layer onto characters that barely need it. The result is a well-performed interpretation that rarely feels essential. Continue reading “Review: Into the Woods, Cockpit”
“I might just make it work”
As frothy as 9 to 5 the Musical may seem, it shouldn’t be underestimated as a piece of theatre that puts three women front and centre in its narrative – it can feel like these sadly remain as few and far between in the 1980 of the original film as it does in the 2017 of the UK fringe premiere of its musical adaptation. And reflecting that, director Joseph Hodges and casting director Harry Blumenau have really done the business in selecting a terrific trio to lead their show.
Pippa Winslow’s Violet leads from the front with a wonderfully wry wit and poised determination, Amanda Coutts’ Judy blossoms in self-confidence throughout to nail her 11 o’clock number, and Louise Olley’s Doralee is an utterly radiant stage presence, delivering the kind of direct eye contact that could leave a boy questioning his sexual preferences. And together, these three secretaries at Consolidated Industries tackle workplace misogyny in their own inimitable way. Continue reading “Review: 9 to 5, Upstairs at the Gatehouse”
“We muffle all the undertones,
The minor blood-and-thunder tones;
The overtones are all we care to play”
Even Rodgers and Hammerstein can have a duff moment. Allegro is a rarity amongst their catalogue in that its 1947 debut was not the equal of the shows that they wrote before and after – you may have heard of them, Carousel and South Pacific… – and so has languished pretty much in obscurity ever since. But in these content-hungry, revisionist times, nothing lays untouched for too long and it is the expert hand of Thom Southerland who has brought us Allegro’s European premiere to the Southwark Playhouse.
I reviewed the 2009 first complete recording of the show in the summer and was surprised at how musically strong it was (helped of course by a stellar cast) so was intrigued to see how the book played out alongside it. And for me, it is not too hard to see why this is a show that has collected dust rather than accolades on the shelf. Telling the life and times of an ordinary American Joe, called Joe, from birth to childhood (told by puppets, eeesh!) through to mid-life crisis but so ordinary is Joe, so everyday the details of his life, that it is hard to get too excited by it. Continue reading “Review: Allegro, Southwark Playhouse”