One of my favourite musicals – Howard Goodall’s The Hired Man receives a well-realised new revival courtesy of Queen’s Theatre Hornchurch and Hull Truck Theatre
“I can peel my own orange”
From the Landor to the Mercury to the Union, via the NYMT and all-star Cadogan Hall concerts, there’s no doubting that Howard Goodall’s British folk musical The Hired Man is one of my all-time faves. Musically, it is so beautiful that you can’t really argue against the marketing material claims that it is “the best British musical in 40 years” (though I might demur and say Top 5…).
It is now the turn of Queen’s Theatre Hornchurch and Hull Truck Theatre to revive the show, some 35 years old now, in association with Oldham Coliseum Theatre. And Douglas Rintoul’s fully actor-musician production is brimming with good ideas which serve the material well, teasing out a universality to its message which can sometimes feel hemmed into its Cumbria setting. Continue reading “Review: The Hired Man, Queen’s Theatre Hornchurch”
“It’s but a pleasurable means
To a measurable end”
Sondheim’s reputation as one of our finest living composers rests not only on the delicious complexity of his music but also on the superlative performances that it draws from actors who must delve extraordinarily deep to rise to its challenges. Not every performer is able to ascend these heady heights but it gives me enormous pleasure to report that Josefina Gabrielle delivers one of those utterly transcendent moments with a nigh-on perfect interpretation of Desiree Armfeldt at the Watermill.
As a once-famed actress not quite getting the gigs she believes she should, she presents the facade of ‘The Glamourous Life’ beautifully – a touch self-deprecating, two touches self-assured, she knows how to rule a room. But try as she might, she can’t always rule the hearts of others as evinced in the bittersweet ‘Send In The Clowns’ which is made to feel brand new here, Gabrielle finding fresh textures and feeling (the startled emotion of ‘I thought that you’d want what I want’ seems to surprise even her) to completely and utterly break the heart (the song’s final line has never been delivered more affectingly, and I’m including the Dench in there!).
Given the name of this blog, it should come as little surprise that I find it hard to resist productions of A Little Night Music, even when they’re in deepest Berkshire. But Paul Foster is a director I admire and actor-musician productions are often superb in their ingenuity. And so it proves here, Sarah Travis’ arrangements for this company of 13 (playing piccolos to double basses) are meticulously done, losing none of the music’s majesty even as it is considerably reconfigured in some parts. Continue reading “Review: A Little Night Music, Watermill”