“The questions raised at every turn show there’s always more to learn”
This production of Stiles + Drewe’s Just So, their musical adaptation and conflation of Rudyard Kipling’s Just So Stories was a well-received one at Chichester Festival Theatre, coming almost a decade after the show was originally written. Their historically family-friendly back catalogue has served them well over the years – and is bearing significant fruit now in their Trio of Trios, and some elements of this well-cast recording are just lovely.
The heartfelt simplicity of ‘Does The Moment Ever Come?’ is perfectly suited to Richard Dempsey’s sweetly earnest Elephant Child, Julie Atherton might never have sounded better (or more wonderfully northern) on the nervously apprehensive ‘Wait A Bit’ and John Barrowman’s Eldest Magician has the charisma to make his life lessons a little more holistic than hectoring. His singing on ‘Just So’ and ‘If’ wisely warm-hearted. Continue reading “Album Review: Just So (2006 Chichester Festival Theatre Cast)”
“The lady’s got potential”
Right, first things first, Marti Pellow’s name is deliberately bigger than Madalena Alberto’s on the poster. Really? He may have the greater name recognition factor, indeed Popped In Souled Out was one of the first cassette albums I ever owned, but is the show called Che? It is not, it is called Evita. And more significantly, in the role of Eva Perón, Alberto delivers an utterly magnificent performance (one which should give Anna-Jane Casey pause for thought in the recently rewritten Forbidden Broadway, star quality indeed…) which far outshadows Pellow’s perfunctory work. Simply put, this is not a West End-standard leading man turn and so demanding higher billing than the show’s true star feels even more inexcusable.
Andrew Lloyd Webber’s show has been touring the country since May 2013 and has now turned up at the Dominion Theatre to finish its run with a seven week stint in the West End. It’s quite a successful transfer too – Matthew Wright’s design holds up well on the vast stage and directors Bob Tomson and Bill Kenwright ensure a sense of grandeur infuses this story of the rise to power of Eva Perón under the auspices of her husband Juan who became the Argentine president. Creatively, the only disappointment comes in Bill Deamer’s choreography which lacks the organic Latin spirit that so elevated the last West End revival (the explosive power of that ‘Buenos Aires’ is one of my all-time favourite theatrical memories).
Continue reading “Review: Evita, Dominion”
“There’s a kind of a sort of: cost
There’s a couple of things get: lost”
Now entering its eighth year at the Apollo Victoria, Wicked remains one of the major go-to shows in London’s West End, beloved of fans and tourists alike. A major UK tour has just started to great reviews in Manchester, demonstrating the wide appeal of this prequel-of-sorts to the events in The Wizard of Oz but with a major cast-change fast approaching, the London production feels like it is missing a little of that emerald sparkle that has made it such an enduring success.
I’ve seen the show twice before (reviews here and here) and so perhaps there’s an element of familiarity breeding contempt but I do have a fondness for Stephen Schwartz’s score and you gotta love a story that puts female friendship so firmly at the centre (many may mock the musical but how many long-running plays are there that do the same…). It was just hard to shake the feeling that maybe some people were a little demob-happy, or even maybe that the production is resting on its laurels a tad. Continue reading “Re-review: Wicked, Apollo Victoria”
“I’ll be so happy I could melt”
As with last year, which saw my first ever trip to Wicked, the first thing that I booked from the Get Into London Theatre website when it launched was a return trip to the Apollo Victoria. As Mr Boycotting Trends had never seen it before and was so desirous, I booked and managed to get rather good stalls seats for £35. Ironically, lastminute currently have a similar promotion on which is something of a rarity for this show but it is a great opportunity to get good seats for a not-quite-as-eyewatering price.
So I returned to Oz (although not as in Return To Oz, the film that was responsible for several recurring nightmares I had as a child but seriously, someone should make a show of that) to see the story of Elphaba and Glinda, 2 girls whose destinies to be the witches of Oz are not quite as clear-cut as one might think as an unlikely but deep bond develops between them. Knowing the story this time round meant that the surprise element of the way the show fits into The Wizard of Oz’s mythology was lost but it just meant that I appreciated the main thrust of the story more and admired both the message of tolerance for those who are ‘different’ that it preaches and the frankness with which the messiness and complexity of friendship is portrayed here. And I think this last point is key to its enduring success, there’s something so recognisable in the frustrations both women have with the other that is borne out of true friendship. Continue reading “Re-review: Wicked, Apollo Victoria”
“Who can say if I’ve been changed for the better?”
Due to a number of reasons (mainly bad reviews from friends, vitriolic reviews from critics and the ticket prices) I never quite managed to getting round to seeing Wicked despite really wanting to see Idina Menzel who reprised her Broadway role initially, and it’s always been fairly near the bottom of my list of shows to get round to seeing. But with the Get Into London Theatre offer available on good seats (£60 tickets for £35, offer now expired), I finally bit the bullet and booked at the Apollo Victoria.
Purporting to tell the hidden story behind The Wizard of Oz, Wicked tells the story of two girls, Elphaba and Galinda, who meet at sorcery school and follows their tumultuous relationship as they grow up. For they become respectively, the Wicked Witch of the West and Glinda the Good Witch of the North, and their complex friendship is tested with rivalries over love and their opposing personalities and viewpoints. And whereas the story begins well before Dorothy arrives in the land of Oz, much of what we see sheds interesting new light on events as we know them. Continue reading “Review: Wicked, Apollo Victoria”