City of Angels didn’t get its opening night at the Garrick Theatre but there’s still some treats out there
“Greatness can come from the sum of our parts”
City of Angels, Garrick Theatre
Interview with Vanessa Williams
Interview with Theo James
Q&A with City of Angels cast and director Josie Rourke
And if I might have snuck into a preview, I might say that it was a pretty darn slick version of the show once again, Vanessa Williams was everything.
Just look at those beauties! The Olivier-winning Donmar Warehouse production of City of Angels begins previews tonight at the Garrick Theatre.
First seen in 2014, this revival of City of Angels finds stars Rosalie Craig (Company) as Gabby/Bobbi, Hadley Fraser (Les Misérables) as Stine, and Rebecca Trehearn (Showboat) as Donna/Oolie, reprising their roles in the Larry Gelbart-Cy Coleman-David Zippel musical.
New to the production are film and TV star Theo James (Divergent) as Stone, GIrls Aloud member Nicola Roberts as Avrill/Mallory, and Tony nominee Vanessa Williams (Into the Woods), making her West End debut, as Carla/Alaura. Continue reading “News: City of Angels full cast announced”
Don’t you love farce? Well turns out I rather did like Alexis Michalik’s Edmond De Bergerac at the Richmond Theatre
“But will the audience come?”
I do love a comedy that unexpectedly makes me laugh a lot. It is a genre, particularly when it leans towards farce, that can be a tricky one to get right and there’s nothing worse than being the only one stony-faced in a theatre full of people roaring their heads off (qv me at One Man Two Guvnors, or most Feydeau plays). But sometimes it works, sometimes there’s a Noises Off in there, and treading a similar-ish path is Alexis Michalik’s Edmond De Bergerac as it tracks the on- and off-stage shenanigans of a theatre company whilst playwright Edmond Rostand struggles to write Cyrano de Bergerac for them.
And I have to say that I chortled merrily through Roxana Silbert’s production, which has popped around the country after a run at Birmingham Rep. It is thoroughly silly, doesn’t take itself seriously for a single moment, and is consequently most enjoyable if just a touch overlong. Freddie Fox’s Rostand is a struggling writer whose last show was a flop and with the bills mounting, is blocked. His artistic juices are only stimulated when his pal Léo commissions him to write a suite of love letters to seduce a new would-be paramour on his behalf and the spark of a new play ignites as life imitates art imitates life and opening night fast approaches. Continue reading “Review: Edmond De Bergerac, Richmond Theatre”
“Cantankerous I’ve never been”
Joel Hopkins’ The Love Punch was a film that worked far better than one might have expected, a lovely surprise in the cinema back in 2014, so I’ve been looking forward to catching up with his earlier 2008 movie Last Chance Harvey. And once again I was caught unawares, even as I knew that I would probably like it, I had no idea I would love it so completely.
Dustin Hoffman’s Harvey is a washed-up US jingle-writer, finding himself on the fringes of his daughter’s London wedding in place of a beloved stepfather; Emma Thompson’s Kate has found life has passed her by, still single and struggling with an overbearing mother. That the two will end up together somehow is never in doubt but the joy of Hopkins’ film is in making the journey so beautifully, emotionally real. Continue reading “DVD Review: Last Chance Harvey”
Cada dia te quiero mas”
2008 musical Zorro lasted nine months in the West End, which may not seem a fantastic run but in retrospect, it lasted longer than From Here To Eternity, Stephen Ward, I Can’t Sing…any number of big musicals. Written by Stephen Clark and Helen Edmundson from Isabel Allende’s origin story, the tale positions the pulp legend as a folk hero and romantic lead, and is aided in the task by a highly atmospheric score from the Gipsy Kings and John Cameron.
Recorded live, the score has a slight feel of probably being much more fun to experience live than simply listening to in your living room. the flamenco rumba of the instrumentals impressively played but would be unquestionably improved with its accompanying choreography. So too the set pieces of pre-existing Gipsy Kings tracks Bamboléo and Djobi Djoba – both led by a fiercely charismatic Lesli Magherita – being exhorted to “baila, baila” just doesn’t quite work on record. Continue reading “Album Review: Zorro (Original Cast Recording)”
“I wasn’t expecting all this hoopla…”
It’s not been the easiest of births for The Hudsucker Proxy – an incident in the dress rehearsal left two actors hospitalised, fortunately both have now been discharged and are recuperating at home, and the decision was made to forge ahead with the show, recasting where necessary. The show is certainly an interesting prospect – a co-production between Nuffield and Liverpool Everyman & Playhouse in association with Complicite, and the first ever theatrical adaptation of a Coen Brothers film too – and its doors are now finally open in Southampton, ahead of a trip to Liverpool and then an international tour in the near future.
And you can see it succeeding. The show uncovers realms of theatrical influences in the Coen Brothers’ work but also adds in much of its own, to create a dizzying screwball comedy that is frequently laugh-out-loud funny. It would be churlish to give too much away but there are some inspired moments of staging in Simon Dormandy and Toby Sedgwick’s staging, especially concerning the window of the 44th floor office in which much of the drama is set. The physical work here is explicit too, the company relying on their own bodies as much as Dick Bird’s magnificent art deco-inflected set design to create constantly imaginative sequences. Continue reading “Review: The Hudsucker Proxy, Nuffield”
“One Joe who swore, he’s single
Got me sorta crocked, the beast
I woke up only slightly shocked
That I’d defrocked a priest”
I quite often have problems with plays and musicals that are thusly described – “one of the acknowledged greats of twentieth century musical theatre” – especially when I’ve not heard a note of it. I’ve always preferred finding my own route into liking something and so such labels rarely help, the note of hyperbole indeed a little off-putting. So the buzz around Josie Rourke’s production of the Cy Coleman, Larry Gelbart and David Zippel musical City of Angels proved something of a double-edged sword for me.
This was actually my second viewing of the show – I decided to leave writing up a trip to a late preview whilst suffering from a bad cold as I wasn’t sure how constructive I could be whilst feeling so rough. But even on second viewing, the show struck as a peculiar beast indeed. A dip into the world of film noir with a play-within-a-play structure, City of Angels has quite a cold heart and a clinical feel to it as a novelist tries to make it big in Hollywood with his story of a hard-boiled detective working on a big case. Continue reading “Review: City of Angels, Donmar Warehouse”
THE SPOTLIGHT BEST ACTRESS IN A PLAY
Katy Stephens – The Histories, RSC at the Roundhouse
Deanna Dunagan – August: Osage County at the NT Lyttelton
Lesley Sharp – Harper Regan at NT Cottesloe
Lindsay Duncan – That Face at the Duke of York’s
Margaret Tyzack – The Chalk Garden at the Donmar Warehouse
Penelope Wilton – The Chalk Garden at the Donmar Warehouse
THE SPOTLIGHT BEST ACTOR IN A PLAY
Kenneth Branagh – Ivanov, Donmar West End at Wyndham’s
Adam Godley – Rain Man at the Apollo
Chiwetel Ejiofor – Othello at the Donmar Warehouse
Eddie Redmayne – Now or Later at the Royal Court Downstairs
Ian McDiarmid – Six Characters in Search of an Author at the Gielgud
Kevin Spacey & Jeff Goldblum – Speed the Plow at the Old Vic Continue reading “2009 What’s On Stage Award nominations”