#StandByMeChallenge Instagram edition

Just doing my best to try and amplify some of these amazing black voices. I stand with you.

 

 
 
 
 
 
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“Our mistreatment was just not right, and I was tired of it.” – Rosa Parks ⁣✊🏾 #Standbymechallenge #Wearetired #Saytheirnames

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✊🏾 #standbymechallenge #wearetired #saytheirnames

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Re-review: Mary Poppins, Prince Edward Theatre

So good I went twice in as many weeks! I rave about Mary Poppins as it delights the West End at the Prince Edward Theatre

“I suffer no nonsense and whilst I remain
There’s nothing else I feel I need to explain”

So good I went twice in as many weeks! When the opportunity presented itself to go back to Mary Poppins, I couldn’t help myself. So why not take a read of my five star review for Official Theatre here. And if you’re that way inclined, you can read my other review here.

Running time: 2 hours 50 minutes (with interval)
Photos: Johan Persson
Mary Poppins is booking at the Prince Edward Theatre until 3rd May

Review: Mary Poppins, Prince Edward Theatre

Someone clearly has too much time on their hands…enjoy the wordplay in this review of this spectcular revival of Mary Poppins at the Prince Edward Theatre

“Um-dittle-ittl-um-dittle-I
Um-dittle-ittl-um-dittle-I”

Strallens to the fore,
umbrellas at the ready,
penguins…well we won’t mention them. Making its return to the Prince
Edward Theatre where it debuted in 2004, this
revival of
classic musical Mary Poppins
arrives at just the right time to
lift our spirits as the nights start to draw
in and politicians spout
falsehood after falsehood to further darken our nights. And there’s a
rollicking good time to be had here
as the show recalls the
good old days of easy-going entertainment.
In the
leading role, Zizi Strallen
is a constant delight as the
stern nanny with just the right amount of
twinkle in her eye as she alights upon the Banks’ household. Vocally, she
is impressive too, whether rebuffing
Charlie Stemp’s charmingly flirtatious Bert whose
enormous perma-grin may or may not be the result of
xanax
pills.
In the roles of the domestic staff, Claire Machin
and Jack North get many a
laugh and
if George Banks isn’t the  
dad of your dreams, Joseph Millson pretty much is.
Obviously
children play a big part
in this world and the pair
of tykes I saw this evening were
unusually
sweet and sour as their characters are much naughtier than the film. Continue reading “Review: Mary Poppins, Prince Edward Theatre”

Review: Othello, Sam Wanamaker

“O God, that men should put an enemy in their mouths to steal away their brains”

In light of Roman Tragedies reminding us of the vast potential of what Shakespeare can be rather than the tendency towards the ‘proper’ readings of his work that we tend to get here in the UK (vast generalisations I know, but can you really argue against it…), it’s gratifying to see directors, and venues, taking the opportunity to stretch those traditional notions. The Sam Wanamaker Playhouse, housed within Shakespeare’s Globe, isn’t the first place you’d think of to find such a production but in Ellen MacDougall’s interpretation of Othello, we have just that.

Text updated to the 21st century (dramaturgy by Joel Horwood), key characters regendered (Joanna Horton’s Cassio is an inspired move), a contemporary soundtrack that interpolates Lana Del Rey, it is enough to make any purist shiver and you kinda feel that’s the point. MacDougall refocuses the play on masculinity in crisis but it is also tempting to think that on a larger scale, there’s a smidgen of Emma Rice’s shaking of the branches of theatrical orthodoxy at play here too. With the post of Artistic Director of the Globe being advertised again, we can only hope such invention remains. Continue reading “Review: Othello, Sam Wanamaker”

Review: Aladdin, Lyric Hammersmith

“You don’t get that quality of dance at Sadler’s Wells”
There’s something wonderfully political about the Lyric Hammersmith’s pantomime Aladdin this year. Not just in Joel Horwood’s script, which packs in the requisite Trump and Brexit jokes, plus a cleverly worked visual gag for Article 50, and has the land of Fulhammerboosh ruled over by the Emperor One Per Cent. But in almost every aspect of Ellen McDougall’s production, there’s the kind of astute decision-making that has made her a director to watch and whets the appetite even more for her forthcoming Artistic Directorship of the Gate Theatre.
So the first character we meet is Abanazer, played with lip-smacking relish by Vikki Stone as a cross between Mrs Overall and Grotbag, who pretty much steals the show. And our Aladdin is no clueless US import but rather Lyric regular Karl Queensborough, notching up his eighth performance at a venue where he was nurtured by their youth programme. And casting Malinda Parris as the genie not only releases her sensational powerhouse vocal but also further shows up how questionable Disney’s Aladdin’s gender politics are over at the Prince Edward Theatre.
Thus through these choices, this Aladdin feels refreshed and revitalised, an entirely appropriate piece of family entertainment for 2016. And it does this without ever losing sight of all of the traditional aspects of pantomime that we’ve come to love and expect. So there’s some fantastically saucy humour from James Doherty’s Widow Twankey which (should) fly over the kids’ heads along with the sweets thrown out, there’s tons of audience participation led by Arthur McBain’s excellently sensitive Wishy Washy, and an unflagging atmosphere of fun that never drops.
With a sprightly soundtrack featuring rewritten lyrics to some of the year’s pop hits, an impressively staged magic carpet ride, singalongs and snowfalls, Aladdin is undoubtedly a hit. But it is that it’s a hit very much on the Lyric Hammersmith’s own terms that is most remarkable, along with the message it is passing onto the next generation. You may not necessarily agree with its empire-abolishing politics (with a big P) but the politics (with a small p) of teaching our kids that girls can be genies too, that hard work pays off, that the magic of great theatre lies in the imagination, are irrefutable. Exciting and entertaining, this truly is panto for the 21st century.
Running time: 2 hours 20 minutes (with interval)
Booking until 7th January
Originally written for LondonTheatre1

CD Review: The Light Princess (Original Cast Recording)

“No… it can’t be… is it gravity I am feeling?”

It’s been a goodly time coming, just over two years since it opened actually, but the Original Cast Recording of The Light Princess is finally here. Finely crafted by writers Tori Amos and Samuel Adamson with the original cast from the National Theatre production and recorded entirely under studio conditions, this double CD a triumphant achievement. It simultaneously acts as a perfect tribute to a much-loved show (one I saw five times during its too-short run #1#2#3#4#5), it also advances the score, refining its musicality into a more intense yet accessible experience.

Right from the opening bars of the ‘Prologue: Once Upon A Time’, Katherine Rockhill’s piano playing sounds amazing and is rightfully forefronted here as the cornerstone of Amos’ wide-ranging compositions, the lushness of the strings sound pretty special too. And with Rosalie Craig’s astonishing performance as Althea – the light princess herself – liberated from the constraints of this most physically demanding of roles (both for her and for us too, goggling at the inventiveness with which her floating was essayed), her vocal interpretation deepens into something even more affecting, impossible as it may seem to anyone who saw her amazing work onstage.  Continue reading “CD Review: The Light Princess (Original Cast Recording)”

Album Review: Parade (Original London Cast 2007)

“Call for justice! We need justice!
Beat the bastard! Kill the bum!”

Based on historical events from the turn of the last century in Atlanta, Georgia, Jason Robert Brown and Alfred Uhry’s Parade has been something of a slow-burning theatrical success – its original 1998 Broadway run criminally short, ending way before it won 2 Tonys, but later tours and overseas productions cementing its reputation as a sterling piece of new musical theatre. In the UK, Southwark Playhouse had a grand production in 2011 but 2007 saw the Donmar deliver a work of small-scale genius which was captured in its entirety on this double-disc recording.

Perhaps not the most likely of subjects for a piece of musical theatre, the 1913 trial of Jewish factory manager Leo Frank – Bertie Carvel in the role here – for the rape and murder of a 13 year old employee Mary Phagan benefits hugely from the musical treatment. The trial caused a big media sensation in the US and forced an examination of the (not so) latent anti-Semitism in this southern state offering a wide range of opportunities to explore musical styles, estimably executed by Thomas Murray’s 9-strong band playing David Cullen’s new orchestrations.  Continue reading “Album Review: Parade (Original London Cast 2007)”

CD Review: Bugsy Malone (NYMT 1997)

“We could have been anything that we wanted to be”

The news that the Lyric Hammersmith will be reopening with a production of Bugsy Malone will have rightly gladdened the hearts of all right-thinking people and it also reminded me that I had the soundtrack to the show that I’d not gotten round to listening to yet. Where the film (featuring the likes of Jodie Foster and Scott Baio, as well as Mark Curry, Dexter Fletcher and Bonnie Langford) dubbed adult voices onto its child performers, the National Youth Music Theatre mounted an all-youth production that ended up in the West End and which had amongst its number, a certain Sheridan Smith.

There’s real interest in the soundtrack for musical fans as Paul Williams donated songs that were not included in the film, ‘That’s Why They Call Me Dandy’ and ‘Show Business’, the first of which is quite an adorable character number for Dandy Dan (sung here by Stuart Piper and the company) and the second of which is no great shakes (sung by Alex Lee, presumably the Lena Marelli character). And amongst the more familiar numbers are some lovely arrangements which bolster the tunes – the second half of ‘I’m Feeling Fine’ becomes a tender duet, the utterly beautiful ‘Tomorrow’ enhanced by company BVs. Continue reading “CD Review: Bugsy Malone (NYMT 1997)”