A quick round-up of the rest of September’s shows
Mary Said What She Said, aka how far I will go for Isabelle Huppert
The Provoked Wife, aka how far I will go for Alexandra Gilbreath
A Doll’s House, aka if we must have more Ibsen, at least it is like this
Falsettos, aka finding the right way, for me, to respond
The Comedy Grotto, aka a sneaky peak at Joseph Morpurgo
The Life I Lead, aka something really rather sweet
Blues in the Night, aka all hail Broadway-bound Sharon D Clarke (and Debbie Kurup, and Clive Rowe too)
Everybody’s Talking About Jamie, aka well why not go again Continue reading “September theatre round-up”
54 years is quite the wait for a sequel but Mary Poppins Returns is full of nostalgic sweetness and charm
“Are you sure this is quite safe?
‘Not in the slightest. Ready!'”
54 years is quite the wait for a sequel but the sweetness and charm with which Mary Poppins Returns lands on our screens makes it pretty much worth it. It’s a film that does more than wrap you up in a warm blanket of nostalgia, it tucks you in, throws another log on the fire and makes you a steaming hot chocolate (no marshmallows though!).
Set 30 years after the much cherished original, the story (by David Magee, Rob Marshall and John DeLuca based off of PL Travers’s original tales) sees us rejoin Cherry Tree Lane where the adult Michael Banks (Ben Whishaw) lives with his young family (Pixie Davies, Nathaniel Saleh and Joel Dawson). But much like the other long-held sequel of the year, a sadness fills the house for a mother has died. And Michael’s artistic inclinations and part-time job at the bank aren’t bringing in enough to keep them from repossession. Who could possibly save the day…? Continue reading “Film Review: Mary Poppins Returns (2018)”
All change on the Strand for Dreamgirls and Kinky Boots post closing notices at the Savoy Theatre and Adelphi Theatre respectively, and I revisit both.
“Never let ‘em tell you who you ought to be
Come mid-January, the Strand will look a fair bit different for theatregoers as both Kinky Boots and Dreamgirls have posted advance closing notices, leaving the Adelphi and the Savoy respectively on the same date, Saturday 12th January. As sad as it is to see any show close though, both of these musicals have had a fairly decent run (Kinky Boots opened in August 2015, making it nearly 3 and a half years; Dreamgirls in November 2016, reaching two) and given how merciless the commercial market can be, I think both productions can hold their head up high with their West End runs.
And getting ahead of the game with those closing notices means that people still have many the opportunity to catch either or both of these shows before the final curtain. (I should add too, that both shows have announced that they will be touring the UK going into 2019.) I’ve paid both a revisit relatively recently and am happy to report that they both remain well worth seeing, due to some mighty fine performance. Oliver Tompsett has only just stepped into the role of Charlie Price but he is nigh-on perfect casting and his majestic voice suits Cyndi Lauper’s score down to a T and he’s clearly getting on well with Simon-Anthony Rhoden’s impressive Lola. Continue reading “Re-review: All change on the Strand for Dreamgirls and Kinky Boots”
“Open your eyes, I got a surprise!”
It was fascinating to revisit Memphis, a show that I enjoyed on seeing but in all honesty, isn’t one I’ve given much thought to since it left the West End after just over a year at the Shaftesbury Theatre (I went back once). I remarked then that David Bryan’s score was “highly tuneful if not instantly catchy” so was surprised that a fair few of the songs had managed to work their way into my subconscious and so provided that ‘ping’ of recognition which is always nice.
It was also interesting to listen to the songs in isolation from the show, as more of them than I remembered felt somewhat disconnected from the narrative, just happy in their sprightly pop song-ness. And thanks to the quality of the cast assembled here – leads Beverley Knight and Killian Donnelly, supported by the likes of Jason Pennycooke, Tyrone Huntley and Rolan Bell plus Claire Machin, it is a consistently enjoyable record to listen to. Continue reading “Album Review: Memphis (2014 Original London Cast Recording)”
Rebel Wilson is actually hugely successful as Miss Adelaide, finding the perfect balance between playing the role as written and bringing enough of her own personality to firmly put her stamp on the part. An impressive West End debut. As for this motley crew, someone should tell them to sit down, sit down, sit down…
Turns out luck really is a lady tonight.
“Follow the fold and stray no more”
In the merry-go-round of theatres and shows and transfers and tours, the success of the West End transfer of Chichester Festival Theatre’s Guys and Dolls has seen it divide itself in two – the promised UK tour will go ahead through to the summer but the show remains in the West End as well, skipping from the Savoy to the Phoenix to replace the outgoing Bend it like Beckham.
It’s my third time at the show. I saw the original run in Chichester and the transfer to the Savoy and hadn’t planned to return. But as ever, the lure of the recast leads sucked me in. Siubhan Harrison remains with the company but with Samantha Spiro, Oliver Tompsett and US actor Richard Kind joining the team (plus the excellent Jason Pennycooke), my barely-there resistance melted away. Continue reading “Re-review: Guys and Dolls, Phoenix”
“Let’s keep the party polite”
In the absence of a long-runner, the Savoy Theatre has becoming something of a receiving house – Guys and Dolls has followed in the rapturously received Gypsy, both from Chichester, and the Menier’s Funny Girl lies in wait in April. But what was interesting to see on my return to Guys and Dolls (after seeing its original run in Chichester the summer before last) is that one size does not fit all, the business of transferring isn’t quite as easy as all that.
For where Gypsy seemed to gain in intensity in the confines of the proscenium arch, Guys and Dolls feels a little constrained by it. Maybe it’s just the memory of Carlos Acosta and Andrew Wright’s explosive choreography on the openness of the thrust stage but it seemed to pop better there (he grumbled, from the rear stalls), it doesn’t benefit from the same width here at the Savoy and so some of the set pieces – as impressive as they remain – didn’t quite hit the nail on the head. Continue reading “Review: Guys and Dolls, Savoy”
“Have a beer drop a time in the blind man’s jar”
Never one to look a gift-horse in the mouth, the offer of a return ticket to Memphis (the show, not the place sadly) was one I was happy to accept and I was glad for it too. The show remains a hugely impressive showcase for its cast and creatives whilst never quite engaging satisfactorily enough with its subject matter (see my original review here) but the overall effect is certainly one that is entertaining and should set the show up for a successful UK tour in 2016 after it finishes in the West End.
The main change has been the arrival of X Factor winner (and stone cold fox – who knew) Matt Cardle in the cast as Huey, replacing Killian Donnelly who has headed over to Kinky Boots. And as a musical theatre debutant, he is very good indeed, slipping into the role of the fast-talking, highly charismatic DJ with great ease, nailing an adorkable charm that is most appealing. It helps that he shares great chemistry with Beverley Knight as rising star Felicia, herself now off to the latest revival of Cats, further cementing her own MT reputation. Continue reading “Re-review: Memphis, Shaftesbury”
“Rock ‘n’ roll is just black people’s blues sped up”
Though much of the US civil rights movement’s achievements came through political means, this time of huge shift in American society was also underpinned by significant cultural change and it is this that the Tony-award-winning show Memphis focuses on, in exploring how white radio DJ Huey Calhoun sent shockwaves over the airwaves of this Southern city in the 1950s by ignoring the entrenched racial divisions and playing ‘race’ music for all to hear. And as rock and roll began to capture the attention of the nation, so too was Huey’s attention completely captured by the soulful energy of upcoming singer Felicia Farrell and the underground blues club in which she performs (which belongs to her brother).
That she is black and he is not doesn’t matter to him but it sure as hell does to everyone else (they may sing that ‘Everybody Wants To Be Black On A Saturday night’ but there are still laws preventing mixed marriage) and it is this that provides the dramatic heft to Joe DiPietro’s book, such as it is, to this musical that otherwise puts its focus squarely on the music. And what an unexpected place that music comes from – David Bryan, who just happens to be Bon Jovi’s keyboard player – has compiled a fully original score which pulls in influences from Motown-flecked pop, gospel, R&B and 80s power ballads naturally (I mean, look at the guy’s hair!) – it’s highly tuneful if not instantly catchy but delivered with the conviction it is here, it demands the attention and will doubtless reward relistening (if not rewatching as well ;-)) Continue reading “Review: Memphis, Shaftesbury Theatre”