Review: Young Frankenstein, Garrick

If gay jokes and boob jokes and dick jokes are your thing, then Young Frankenstein is for you. Not for me though, not at all. 

“Though your genitalia
Has been known to fail ya
You can bet your ass on the brain”

It’s alive…barely. Mel Brooks’ Young Frankenstein staggers into the West End after some more time on the operating table since its 2007 Broadway opening (2 new songs are among the changes made) and a short run in Newcastle to tighten the bolts. But for a piece of new musical theatre, it is so desperately old-fashioned that you half expect Russ Abbot and Bella Emberg to pop up and do a turn.

Given that Brooks is now over 90 and that the film on which it is based dates from 1974, it is perhaps little surprise that it feels dated. But also given director/choreographer Susan Stroman’s close collaborative relationship with him, the opportunity to be necessarily brutal about what works and what doesn’t feels to have been lost, lightning really hasn’t struck twice for the creators of The ProducersContinue reading “Review: Young Frankenstein, Garrick”

Review: Carousel, London Coliseum

“The crowd of doubtin’ Thomases
Was predictin’ that the summer’d never come”

The English National Opera have had great success with their move into semi-staged revivals of classic pieces of musical theatre. Bryn Terfel and Emma Thompson lit up the Coliseum with Sweeney Todd in 2005, Glenn Close received an Olivier Award nomination for last year’s Sunset Boulevard, and so this year, we’re being treated to Richard Rodgers and Oscar Hammerstein II’s 1945 classic Carousel. I say treated…but with singers Alfie Boe and Katherine Jenkins cast as the show’s ill-fated lovers, this production is a bit of a challenge for musical theatre lovers. Read my three star review for Cheap Theatre Tickets here.

Running time: 2 hours 45 minutes (with interval)
Booking until 13th May

Review: White Christmas, Dominion

“Never had to have a chaperone…”

There’s most likely financial reasons for opening White Christmas in early November but it certainly gave many a critic the excuse to get their Scrooge on early. Likewise, there’s reasons of integrity for treating this show like any other in terms of theatrical criticism. But it is hard not to feel that this piece of festive window dressing perhaps deserves something of a free pass as it arguably falls under the bracket of high-class panto rather than fully-fledged musical theatre (even if the ticket prices err towards the latter).

Which is basically code for saying it is undemanding good fun and you pretty much know what you’re going to get in advance – people in search of punchy narrative drive and incisive characterisation are advised to look elsewhere. I actually saw this production in an earlier incarnation on one of its Christmas trips to the Lowry back in 2012 and whilst not being blown away by it, it hit the mark in terms of festive frippery. David Ives and Paul Blake’s book lightly adapts the 1954 classic film but the real star of Morgan Young’s production here of course is Irving Berlin’s evergreen music and lyrics.

So yes, Aled Jones’ Bob doesn’t really spark any real chemistry with Rachel Stanley’s Betty but he croons beautifully through the title track. Tom Chambers’ Phil and Louise Bowden’s Judy are more engaging as the second lead couple (but that’s an age-old tradition – for example, Anita and Bernardo are way more interesting than Tony and Maria..). And yes, Jones and Chambers make an unlikely pair of war veterans turned light entertainment stars but really, if you’re that way inclined to pull at scarcely credible plot threads then you’re most likely in the wrong place.

Rather, disengage critical faculties, engage festive cheer and enjoy what we’re given (preferably with an egg-nog or 2 beforehand). Which is sparkling singing, classy choreography (from Randy Skinner, Helen Rymer and Sara Brians), serendipitous snowfall and a Christmas cracker of a scene-stealing performance from Wendi Peters as a wisecracking, Ethel Merman-like concierge. Thoughts of it may well melt away quickly like a snowman built when it’s not quite cold enough but like the sugary hit of candy-floss, it sure is fun in the moment.

Running time: 2 hours 30 minutes (with interval)
Booking until 3rd January

Review: Guys and Dolls, Chichester Festival Theatre

“If I were a watch I’d start popping my springs!”

From the opening moments of an overture that demands the attention, it is clear that Chichester’s revival of the Broadway classic Guys and Dolls is going to be a scorcher. Director Gordon Greenberg utilises not only Carlos Acosta as choreographer but also Andrew Wright as a co-choreographer and the combination of the two is simply explosive – these are no two-bit routines that people are shuffling around, this is proper dance and it is thrilling to behold.

It helps of course to be connected to Jo Swerling and Abe Burrows’ amiable book, based on Damon Runyon’s characters, about the travails of a bunch of New York gamblers, and Frank Loesser’s evergreen music and lyrics which churns out classic after classic after classic. Greenberg wisely doesn’t interfere much at all with the material, just cultivating warmth from all of his performers and particularly his two leading couples, making them utterly adorable. Continue reading “Review: Guys and Dolls, Chichester Festival Theatre”