“A gentleman should never be discourteous”
At the heart of Tilted Wig’s new version of Charles Dickens’ Great Expectations is the real box of delights that is James Turner’s set design. Endlessly practical (much needed for a touring show) and versatile in its use of space, I reckon it could either be marketed to IKEA for its storage solutions or to the London housing market as a bijou starter home!
Frivolity aside, it really does epitomise the playfulness of Sophie Boyce Couzens’ production which uses a cast of eight, plus a musician, to depict the coming-of-age of young Philip Pirrip with an elegant take on its theatrical invention. The focus is on storytelling – narrative interjections split between the company, the switch between the multiple characters they all play evoked with simple but effective change of an accent or hat or suchlike. Continue reading “Review: Great Expectations, Yvonne Arnaud Guildford”
There’s all sorts of big productions arriving in the months to come (Long Day’s Journey Into Night, the return of Amadeus, PATTI LUPONE!) but I’m using this spot to highlight some of the shows on the London fringe and around the UK (and Amsterdam…) that have piqued my interest and which I hope to get to review.
So in no particular order… Continue reading “20 shows to look forward to in 2018”
“What a happy time we’ll spend”
I’m pretty sure that if you could distil the warmth of Emma Williams’ voice, it would be the basis for the cure to the world’s ills. There are few singers who have that kind of effect on people and it is a travesty that isn’t better known to the world at large. Part of that is a consequence to her admirable devotion to new musical theatre writing which means that her projects haven’t always quite broken through to the mainstream but to those in the know, she’s a real champion of British musical theatre.
Which is a long-winded but deserved introduction to the Original London Cast Recording of Chitty Chitty Bang Bang, the production in which she made her debut as an 18 year old in 2002. The Sherman Brothers’ film has long turned into an enduring classic and its score here, enhanced by new numbers for the stage, remains a thing of unalloyed joy. The delicacy of lullabies like ‘Hushabye Mountain’ and ‘Doll On A Music Box’ are just beautiful and in the hands of Williams and Michael Ball, they shimmer gorgeously. Continue reading “Album Review: Chitty Chitty Bang Bang (2002 Original London Cast Recording)”
There’s something perhaps a bit perverse in some of the strongest episodes of new Who emerging from the series which (arguably) had the weakest companion. Freema Agyeman was ill-served by writing that couldn’t let her be a companion in her own right, as opposed to the-one-in-Rose’s-shadow, and consequently never felt entirely comfortable in the TARDIS.
Series 3 has real highs and certain lows – the introduction of Doctor-lite episodes (to ease the production schedules) produced the inventive wonder that was Blink (and further proved Steven Moffat’s genius), the unashamed grab for the heartstrings was perfectly realised in the Human Nature / The Family of Blood double-header, and the re-introduction of one of the Doctor’s most enduring foes was well-judged. That said, we also had the inevitable return of the Daleks who already feel like they’re in danger of over-exposure.
Continue reading “Countdown to new Who: Doctor Who Series 3”