“Life will be frozen peaches and cream”
I’ve seen a couple of comments questioning whether Sweet Charity is an appropriate choice for the Royal Exchange’s festive musical – I assume they avoided last year’s Into the Woods and the year before’s Little Shop of Horrors, neither show hardly known for their jazz hands and perma-smiles. For the joy of great musical theatre, of any theatre, is when it can find shades of darkness and light in its storytelling, finding a way to reflect the richness of life in its downs as well as its ups.
Director Derek Bond (whose Little Shop… remains a stunning high point) acknowledges all of the problems inherent in Neil Simon, Cy Coleman and Dorothy Fields’ tale of a dancer, the titular Charity Hope Valentine, and her repeated, desperate lack of luck in her romantic life and through his interpretation and the directness of Aletta Collins’ choreography, also takes it seriously. Anchored by a properly star-making and heart-breaking performance from Kaisa Hammarlund, it just works. Continue reading “Review: Sweet Charity, Royal Exchange”
Rebel Wilson is actually hugely successful as Miss Adelaide, finding the perfect balance between playing the role as written and bringing enough of her own personality to firmly put her stamp on the part. An impressive West End debut. As for this motley crew, someone should tell them to sit down, sit down, sit down…
Turns out luck really is a lady tonight.
“Follow the fold and stray no more”
In the merry-go-round of theatres and shows and transfers and tours, the success of the West End transfer of Chichester Festival Theatre’s Guys and Dolls has seen it divide itself in two – the promised UK tour will go ahead through to the summer but the show remains in the West End as well, skipping from the Savoy to the Phoenix to replace the outgoing Bend it like Beckham.
It’s my third time at the show. I saw the original run in Chichester and the transfer to the Savoy and hadn’t planned to return. But as ever, the lure of the recast leads sucked me in. Siubhan Harrison remains with the company but with Samantha Spiro, Oliver Tompsett and US actor Richard Kind joining the team (plus the excellent Jason Pennycooke), my barely-there resistance melted away. Continue reading “Re-review: Guys and Dolls, Phoenix”
“Let’s keep the party polite”
In the absence of a long-runner, the Savoy Theatre has becoming something of a receiving house – Guys and Dolls has followed in the rapturously received Gypsy, both from Chichester, and the Menier’s Funny Girl lies in wait in April. But what was interesting to see on my return to Guys and Dolls (after seeing its original run in Chichester the summer before last) is that one size does not fit all, the business of transferring isn’t quite as easy as all that.
For where Gypsy seemed to gain in intensity in the confines of the proscenium arch, Guys and Dolls feels a little constrained by it. Maybe it’s just the memory of Carlos Acosta and Andrew Wright’s explosive choreography on the openness of the thrust stage but it seemed to pop better there (he grumbled, from the rear stalls), it doesn’t benefit from the same width here at the Savoy and so some of the set pieces – as impressive as they remain – didn’t quite hit the nail on the head. Continue reading “Review: Guys and Dolls, Savoy”
“Please don’t cry, dry your eyes, wipe away your tears”
Despite naming it my show of the year in 2011 (or maybe because of that), I’ve not been back to see Matilda the Musical since it opened at the Cambridge Theatre four years ago. I had such the perfect emotional journey with the show that I just didn’t want to alter that experience by going back and risking it being something of a disappointment, especially with such impossibly high standards to live up to from that amazing original cast and Bertie Carvel’s iconic Mrs Trunchbull.
Four years is long enough though I think, and when the opportunity to revisit the show presented itself, I accepted the offer with just a little trepidation. Those nerves were quickly dispelled, even as soon as entering the theatre to witness the infectious enthusiasm of an audience of all ages, and the reassuring sight of Rob Howell’s design with its multi-coloured letters strewn across the set. And as Laurie Perkins’ orchestra launched into the familiar strains of ‘Miracle’, my heart leapt and I wondered how I had left it this long. Continue reading “Re-review: Matilda the Musical, Cambridge Theatre”
“Sock hops, soda pops, going to the malt shop”
“Sunday Monday Happy Days…” It is 40 years since ‘50s-set sitcom Happy Days started on US television screens and rose to iconic status, not least because of the creation of one of TV’s most enduring characters in The Fonz. And though it is 30 years since it came off air, a stage musical based on the show is hoping to capitalise on its retro appeal and all-American charms, with a considerable UK tour kicking off here at the Churchill Bromley.
With a book by original creator Garry Marshall and music and lyrics by Paul Williams, the show’s pedigree is beyond question, not least in the presence of Henry Winkler, the Fonz himself as a creative consultant. And in reintroducing the world of Arnold’s diner, the chirpy high-school kids that go there and the mom and pop tolerance of their hi-jinks, the show certainly succeeds in the fold-out resourcefulness of Tom Roger’s set and period-bright costume design. Continue reading “Review: Happy Days the musical, Churchill Bromley”
“Step, kick, kick, leap, kick, touch…again!”
When I was learning to play the piano as a young’un, we had a book of tunes from the movies which included ‘One’ and ‘What I Did For Love’, both from A Chorus Line. I’d never seen the film (and still have not) but I loved both of those songs and so practiced hard to be able to play them well. But even when a new production of the show was announced earlier this year, the temptation to go and see it was never too strong. Part of that came from the venue – the Palladium is a most unforgiving of theatres if you don’t have a front centre stalls seat – but there was also a sense that its conglomeration of backstage stories might be a little dated in a world where the audition process has repeatedly been laid bare on our television screens.
I perhaps wasn’t alone in feeling this way as the production was forced into publishing early closing notices, meaning it shutters at the end of this week. But in forcing my hand and making me book via a bargainous deal that got us into the middle of Row C of the stalls, I belatedly came to realise that the show is much better than I thought it would be and perhaps deserves a longer life than it has had. Its set-up is simplicity itself – seventeen Broadway dancers audition for eight spots on the chorus line for a musical and as the director takes them through their paces, we get to hear the tales of these hopefuls, their dreams and aspirations, their fears and frailties, in some cases their most intimate stories about what dance and being a dancer means to them. Continue reading “Review: A Chorus Line, Palladium”
“You’ll declare it’s simply topping to be there”
On the face of it, Top Hat should have been a rip-roaring extravaganza of a show that tapped and waltzed and strutted its way right into my affections, featuring some of my favourite things like a healthy selection of classic songs from the Irving Berlin back catalogue and the kind of choreography from Bill Deamer that genuinely makes me wonder if it isn’t too late to find my inner Billy Elliot (don’t worry, I know it is…). But at this Tuesday matinée, I found it was particularly topping to be there and I was sadly left a little underwhelmed by the whole shebang.
It seems perverse to comment on the plot of a musical being far-fetched, especially one based on an old-school Broadway film as this is, but the book here – adapted by director Matthew White and Howard Jacques – is criminally lame. The story is a whole lot of silliness, which is fine – girl complains about guy dancing in the room above her, guy flirts with girl, girl gets cold feet when she think s guy is married to her best friend. Oh, and the guy is a leading Broadway star about to open a show. Where the problem lies is in the incredibly dated humour, which one can just about explain away as a period piece, but which just sags and droops with lame joke after overblown stereotype which was lapped up all too easily by this audience, of whom I was the youngest member by quite some margin. Continue reading “Review: Top Hat, Aldwych”
Though the temptation is strong, and the actuality may well prove so, I don’t think I will be catching quite so much theatre in 2012 as I did last year. I could do with a slightly better balance in my life and also, I want to focus a little more on the things I know I have a stronger chance of enjoying.
So, I haven’t booked a huge amount thus far, especially outside of London where I think I will rely more on recommendations, but here’s what I’m currently looking forward to the most: Continue reading “Shows I am looking forward to in 2012”