There’s much to like about Dear Evan Hansen at the Noël Coward Theatre, not least a brilliant lead performance from Sam Tutty
“Will I ever be more than I’ve always been?”
After seeing Dear Evan Hansen, you realise that its title can be taken two ways. It’s the salutation on a letter that precipitates a world of trouble for the awkward teenager and those around him as per Steven Levenson’s effectively contemporary book. But it also ultimately emerges as an affectionate form of address, troublingly so as the show latterly pulls its punches around some of the harder-hitting topics that it raises.
High-school senior Evan’s life is crippled by social anxiety. His hard-working single mum barely has time for him, he’s got no mates to speak of, and his therapist keeps setting him homework. Then when one of his classmates Connor Murphy dies by suicide, a chink of light unexpectedly cracks through his depression, as an unlikely chain of events leads him to claiming that they were best friends in order to emotionally support the grieving family. Continue reading “Review: Dear Evan Hansen, Noël Coward Theatre”
My second version of Brass the Musical in a week – Mountview students at the Bernie Grant Arts Centre do an impressive job with this moving WWI musical
“War turns everything on its head”
It’s not often that you get the chance to compare and contrast two contemporaneous productions of the same musical but that is exactly what you can do right now with Brass the Musical. Sasha Regan at The Union Theatre opened her version this week (review here) and now a group of Mountview students are having a crack at it at the Bernie Grant Arts Centre. I was particularly tempted to return to the show as the show’s writer Benjamin Till – an alumnus of Mountview himself – is also on directorial duties.
It was fascinating to see the show for the second time in a week as the approaches by each director offered up intriguingly different interpretations. Till clearly benefits from the resources of one of the UK’s leading drama schools and so is able to conscript a band to meet the demands of his brass-heavy score, fill his stage with bodies and get them to execute some pretty nifty choreography (by Simon Hardwick). The contrast is huge with the Union, where studied intimacy is the watchword even though the company is only fractionally smaller. Continue reading “Review: Brass the Musical, Mountview at the Bernie Grant Arts Centre”
“Who could ask for anything more?!”
After a highly accomplished run at the Open Air Theatre, Crazy For You has transferred into the West End to take up residence in the Novello Theatre, taking advantage of the premature closing of Betty Blue Eyes. I saw it in Regents Park – review can be read here – and was easily seduced by its combination of Stephen Mears’ pulsating choreography and lively renditions of selections from the Gershwins’ considerable catalogue of songs. The show has been transplanted indoors pretty much in its entirety and continues to be a whole heap of uncomplicated entertainment.
I previously described the story as ‘pure hokum’ and little has changed in that respect but it really doesn’t matter in the end, because this really is a show that is all about the singing and dancing. It doesn’t so much reinvent this set of classic Gershwin songs, they are too well known for that, but it does present them in a fresh new setting which feels incredibly natural and well-fitted. Sometimes with jukebox shows there can be the feeling of songs being shoe-horned into the narrative but because this show wears its story quite lightly, that is rarely the case here. Instead, there’s a cheery skip through some of the best songs ever written that is guaranteed to lift the heart. Continue reading “Re-Review: Crazy For You, Novello”
“Dancing makes my troubles all seem tiny”
There’s no hiding the fact that the Open Air Theatre’s Crazy for You is pure hokum but for sheer escapist fun and a feel-good atmosphere that will whisk you away from the troubles outside of Regent’s Park for an evening, this will pretty much do the trick. Based on the George and Ira Gershwin musical Girl Crazy, Ken Ludwig – he of the recently departed Lend Me A Tenor – wrote a new book in 1992, heavy on post-modern knowingness and light on substance: silly but fun – if you come here looking for authenticity you’re bound to be disappointed!
Banker Bobby Child is forced to abandon his Broadway dreams and is dispatched to Deadrock, Nevada to foreclose on a theatre there. Sensing an opportunity as he falls head over heels with the daughter of the theatre’s owner, he decides to impersonate the Broadway impresario he longs to work for and arranges for a benefit show to be put on to save the theatre: madcap fun ensues with mistaken identities – clearly a Ludwig fave – at the fore. Continue reading “Review: Crazy for You, Open Air Theatre”