“I’m a light-hearted girl, but I don’t chaff bogies”
Though Gilbert and Sullivan’s works enjoy enduring popularity across the country, the arbiters of taste seem to have dictated that there is little place for them in London’s theatres. So what we do get are fringe works – often highly inventive as in Sasha Regan’s all-male productions for the Union Theatre – and curiosities, as the Finborough unearths a rarely performed work from the pair, The Grand Duke, as part of their Celebrating British Music Theatre series.
Their final collaborative work, The Grand Duke or The Statutory Duel has languished on the shelves as its comparatively poor reception doomed it to an early closure and a lifetime of obscurity beckoned as the popular perception is that this show is proof positive of their degenerating creative partnership. In some ways, the argument can be made as the dialogue is creaky, the score is oft-times derivative and the hugely convoluted plot is sprawlingly bonkers. But then this is G+S that we’re talking about and to pull at the thread of either the lack of musical variety or straightforwardness of the plot is to call into question their whole oeuvre. Continue reading “Review: The Grand Duke, Finborough”
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”
“Cake in the oven, champagne on ice
Much as I hate to I may even shave twice”
The Baker’s Wife with music and lyrics by Stephen Schwartz and book by Joseph Stein is a musical that managed to develop something of a cult following despite flopping in the West End in 1989 and never actually having run on Broadway. Director Michael Strassen has now given it a rare outing at the small-scale powerhouse that is the Union Theatre. Based on the Marcel Pagnol and Jean Giano film La Femme Du Boulanger, the show is all about what happens in a rural French community when Geneviève the young wife of the village baker leaves her husband Aimable for a sexy piece of rough. He loses his baking mojo which sufficiently outrages the villagers to put aside their multifarious squabbles to come together and try to reunite the couple.
There is usually a reason that shows are left on the shelf and true to form, The Baker’s Wife pretty shows us why. Schwartz’s score is largely strong with some genuinely sublime moments but the book is stolid, unimaginative and fatally fragmented. Too much time is spent on the villagers around the love triangle but there’s so many of them, all contributing to the larger metaphor of the show, that none get a fair crack of the whip. And consequently, there’s not enough room to really focus on the main protagonists either. Indeed, Geneviève’s story doesn’t come across as particularly sympathetic at all, it is so hurried: it is revealed that she married Aimable on the rebound from being rejected by her married lover but she’s going to put up with him. Having left him shortly after singing this, she then dumps her new paramour after five minutes on the run and a roll in the hay – one can’t help but feel the baker is better off without her! Matters are not helped by an additional horribly overdone metaphor of her cat running away and returning contemporaneously, subtle it is not. Continue reading “Review: The Baker’s Wife, Union Theatre”