Review: Hello Harry! A Celebration of 40 Years at Stage Door

Just a quickie for the infusion of pure joy that was Hello Harry! A Celebration of 40 Years at Stage Door

Amid the constant shower of shit that passes for news about theatre at the moment, this online concert to celebrate the incredible 40 year career of Harry Gabriel, the Shaftesbury Theatre’s Stage Door Keeper, was an absolute ray of sunshine.

Put together by Giles Terera, the guest list was truly astonishing, featuring a veritable who’s who of the theatre world, all connected one way or another with Harry through the 40 years of shows he has seen pass through the Shaftesbury Theatre. Continue reading “Review: Hello Harry! A Celebration of 40 Years at Stage Door”

News: line-up for the second week of Leave A Light On

The schedule has been announced for week 2 of Leave A Light On, a series of live-streamed concerts.

The shows will be live streamed as part of the Leave A Light on series of concerts produced by Lambert Jackson and The Theatre Café, which aims not only to provide financial support for the performers involved, but also to provide entertainment for people in self-isolation.

Tickets to watch the live streams are a bargainous £7.50, just click on the links to book.

The full lineup is as follows:

Monday 30th March
2:30pm Nathaniel Morrison 
4:30pm Grace Farrell
6:30pm Declan Bennett 

Tuesday 31st March
2:30pm Simon Bailey 
4:30pm Kelly Mathieson 
6:30pm Jordan Luke Gage 

Wednesday 1st April
2:30pm Daniel Boys 
4:30pm Sophie Isaacs 
6:30pm Aimie Atkinson 

Thursday 2nd April
2:30pm Declan Egan
4:30pm Hannah-Grace Lawson
6:30pm Velma Celli 

Friday 3rd April
2:30pm Blake Patrick Anderson 
4:30pm Daniel Koek 
6:30pm Marisha Wallace

Review: Sara Bareilles and Gavin Creel in Waitress, Adelphi Theatre

It’s impossible to resist another visit to Joe’s Diner as Sara Bareilles and Gavin Creel begin their limited run in Waitress at the Adelphi Theatre

“I’ll slice and serve my worries away”

I wasn’t going to go back to Waitress, having enjoyed both my previous visits to the Adelphi Theatre where I was blown away by Katharine McPhee and then Lucie Jones in the leading role of Jenna. But then a genius casting move (surely this doesn’t count as stunt casting? who knows…🤷) saw the show’s composer and lyricist Sara Bareilles and Olivier and Tony Award winner Gavin Creel announced for a limited run and so I couldn’t help but book myself in for another slice of pie.

Both of them appeared in the show on Broadway so they’re clearly au fait with their roles but more significantly, they clearly share a special connection and so their electricity as Jenna and Dr Pomatter is off the charts. The shenanigans in the doctor’s surgery are always fun but here, they’re fricking hilarious as Creel and Bareilles bounce off each other while having the time of their lives and almost, almost, making you forget the slight ickiness of the boundaries that their incipient relationship crosses. Continue reading “Review: Sara Bareilles and Gavin Creel in Waitress, Adelphi Theatre”

August theatre round-up

I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in August.

Joseph and the Amazing Technicolor Dreamcoat, aka the Sheridan Smith show
Queen of the Mist, aka the surprisingly affecting one
Appropriate, aka all hail Monica Dolan
Waitress, aka ZZZZZZZOMGGGGG STUNT CASTING oh wait, Joe Suggs hasn’t started yet
The Doctor, aka all hail Juliet Stevenson
A Very Expensive Poison, aka it was a preview so I shouldn’t say anything
Blues in the Night, aka all hail Broadway-bound Sharon D Clarke (and Debbie Kurup, and Clive Rowe too)
The Night of the Iguana, aka justice for Skyler Continue reading “August theatre round-up”

Review: Waitress, Adelphi Theatre

Fresh from Broadway, hit musical Waitress proves funnier and lighter than you might expect at the Adelphi Theatre

“Let’s see the next amazing thing baking does now”

True story, I didn’t love Waitress when I first saw it in my Broadway Blitz of 2016. But as it sometimes the way, upon listening to the cast recording again and then again, I fell for the show that way, and so was delighted with news of its UK premiere at the Adelphi Theatre.

To think of it as a big Broadway show is to misinterpret what it is trying to do though. Jessie Nelson (book) and Sara Bareilles’ (music and lyrics) adaptation of Adrienne Shelly’s 2007 indie flick is a subtler thing than much West End fare, an intimate story of pies, pregnancy and just how much we’ll put up with. Continue reading “Review: Waitress, Adelphi Theatre”

Review: You’re A Good Man Charlie Brown, Tabard

“I really don’t think you have anything to worry about Charlie Brown”

Out in West London, the Tabard is a theatre that hasn’t really managed to work its way into my regular theatregoing: I’ve enjoyed things there, last Christmas’ Just So in particular, but it’s always been a bit on the wrong side of town for me to merit multiple trips, the nature of fringe theatre being essentially so variable.

But an interesting looking cast for You’re A Good Man Charlie Brown meant that I made the trip to Turnham Green once more. A musical comedy based on the famous Peanuts comedy strip, this is a revised version of the show by Clark Gesner, with additional songs and dialogue from Michael Mayer and Andrew Lippa and in another factor that convinced me to go, is directed by Anthony Drewe. Continue reading “Review: You’re A Good Man Charlie Brown, Tabard”

Review: Drive Ride Walk, Greenwich Theatre

“I can’t believe I’m falling again”

Drive Ride Walk is a piece of new musical theatre from Filament Theatre by Osnat Schmool, developed from a two-song 10-minute sketch into this hour-long show which combines 9-person acapella singing with physical theatre about commuting in London. It follows three different journeys through the capital: a cyclist winding her way through the traffic who has a chance encounter with a handsome pedestrian, a newly-qualified driver taking friends for a drive and a group of commuters who have to deal with an unexpected change to their daily routine.

It is very loosely structured and freeform in its nature, both in terms of its story-telling and the music itself and so to be honest, it proved to be quite a trying experience in all. Schmool’s score is rather flat, accompanied occasionally by cello and accordion but mainly eschewing songs for densely-packed vocal lines and murkily repeated phrases which resembled nothing so much as vocal doodling rather than bursting with musicality. My reaction to it reminded me of how I felt about John Adams’ I Was Looking At The Ceiling… in that whatever it is about certain kinds of music that appeals to some just flies right over my head. I just couldn’t see what they were trying to achieve here and though it was only an hour, it felt much longer.

It didn’t help that there was little sense of meaningful plot or character progression presented to us. There’s a lot of little glimpses into the daily lives of our group of protagonists and the hints of interesting stories suggested, Jon-Paul Hevey’s flirty stranger and Stuart King’s call centre worker promised some interest, but none of them are really pursued to any depth which left me frustrated about what could have been. And whilst it accurately portrays the mundanity of travelling around a busy city, by not providing anything more of substance, it doesn’t offer any reason to care about what is happening.

Things were exacerbated by the use of movement which was too rarely amusing, the etiquette (or lack thereof) of packed tubes and crowded zebra-crossings was wryly observed although hardly anything new, and too often painfully laboured. Whilst there was nothing to match the infamous simulation of sex through watering cans, the sequence in which the quote at the top was repeated and demonstrated by, you’ve guessed it, everyone falling over and over again and again in the stagiest of manners drove me to distraction.

The ensemble of nine were enthusiastic and delivered a tightly knit performance but that wasn’t enough to win me over with a show which really did feel like a work-in-progress rather than a fully-fledged work. Even the way in which the local choir was co-opted into some scenes felt like a wasted opportunity as they were barely used at all (although perhaps understandable if they are using a new choir local to each venue they visit). It is a bit mean but I cannot resist the bad pun: sadly this a show to drive, ride or walk right past.

Running time: 1 hour (without interval)
Programme cost: £2
Booking until 26th February then playing Stratford Circus and Jackson’s Lane.

Re-Review: Sister Act with Whoopi Goldberg, Palladium

“I had a revelation when I skipped my medication”

One of the cardinal rules of theatre booking is that you should never book to see a show just to see a particular performer as that road can only lead to disappointment. And so it came to be when I booked a return visit to Sister Act The Musical when it was announced that Whoopi Goldberg would be covering the role of Mother Superior for most of August for the sole reason of seeing her rather than any desire to see the show again. With the sad news of her mother taking very ill, Whoopi was forced to cut her run short and return to the US and so I ended up giving my tickets to a friend.

But the world works in mysterious ways and I clearly had some good karma stored up so when I booked the shows on my Groupon deal (including this one as I had decided to give it a whirl again since it had announced it was closing in advance of a move to Broadway and also to make way for The Wizard of Oz) and was randomly allocated a date, it just so happened to coincide with Goldberg’s return to the show for just 5 performances. Continue reading “Re-Review: Sister Act with Whoopi Goldberg, Palladium”

Review: Joseph and the Amazing Technicolour Dreamcoat (again), Adelphi

If there was going to be any play or musical that appeared twice on this blog, it had to be Joseph and the Amazing Technicolour Dreamcoat. As clearly explained in my first entry, this is probably my favourite musical (certainly in my top three) and so when I was offered a free ticket to the press night of the relaunch with Gareth Gates in the title role, there was no chance of me resisting!

Gareth Gates has been slotted into the gap left by Lee Mead with seemingly no major changes that I could ascertain. The only real difference that I could see was due to Gates’ relative youth, and also his youthful appearance. He plays the early scenes with Jacob and the brothers as more of an obnoxious brat, which kind of makes sense in terms of driving them to “fratricide” and so in this way his youth worked for him. The other time it was noticeably different was in the reunion scene when Joseph plants the golden cup. As Gareth Gates sings “Benjamin, you nasty youth…”, it was hard to suppress a smile as the actor playing Benjamin looks a good few years older than him. Continue reading “Review: Joseph and the Amazing Technicolour Dreamcoat (again), Adelphi”