“It’s because you love him too much”
So a slightly odd position to be in, as we saw Harry Potter and the Cursed Child Parts 1 and 2 nearly 7 weeks ago at their first previews. And with the #keepthesecrets campaign already in full force then, I didn’t write up a review, opting instead for this preview of sorts. And even now, I’m loathe to write too much about it, for it really is the kind of play, and production, that benefits from the multiple elements of surprise contained within.
And it really is packed full of them, from all aspects. Based on an original new story by JK Rowling, Jack Thorne and John Tiffany, Thorne’s play revels in the richness and full depth of the Harry Potter universe to the point where the named cast are described as playing “roles include…” so as not to spoil what’s to come. This does have the knock-on effect of making this a play not really suitable for newcomers but I can’t imagine too many of them will have booked! Continue reading “Review: Harry Potter and the Cursed Child, Palace – totes spoiler free!”
“How is that even possible?!”
Well it’s finally here, Harry Potter and the Cursed Child Parts 1 and 2 have landed at the Palace Theatre in a blaze of insane publicity and media coverage desperate for a touch of that JK Rowling magic to drive web traffic. In some ways, I’m no different (hence this post!) but in one crucial way I do have the advantage – I’m one of the lucky audience members who has now seen both shows, along with the one and only scene-stealing appearance of Sprocket the owl.
It’s no secret that Rowling is asking people to #KeepTheSecrets and there’s always an interesting tension about whether or not one should observe an embargo when you’ve paid for your ticket (a whole £10 per show too, we weren’t going crazy!). So for now, I’m leaving you with this little collection of teasers about some of my favourite things from the show and be warned, they do increase in mild spoilerishness (mostly about staging, the final E is the one to avoid if you’re not sure…forgive me JK!). Continue reading “Preview: Harry Potter and the Cursed Child, Palace”
“No… it can’t be… is it gravity I am feeling?”
It’s been a goodly time coming, just over two years since it opened actually, but the Original Cast Recording of The Light Princess is finally here. Finely crafted by writers Tori Amos and Samuel Adamson with the original cast from the National Theatre production and recorded entirely under studio conditions, this double CD a triumphant achievement. It simultaneously acts as a perfect tribute to a much-loved show (one I saw five times during its too-short run #1, #2, #3, #4, #5), it also advances the score, refining its musicality into a more intense yet accessible experience.
Right from the opening bars of the ‘Prologue: Once Upon A Time’, Katherine Rockhill’s piano playing sounds amazing and is rightfully forefronted here as the cornerstone of Amos’ wide-ranging compositions, the lushness of the strings sound pretty special too. And with Rosalie Craig’s astonishing performance as Althea – the light princess herself – liberated from the constraints of this most physically demanding of roles (both for her and for us too, goggling at the inventiveness with which her floating was essayed), her vocal interpretation deepens into something even more affecting, impossible as it may seem to anyone who saw her amazing work onstage. Continue reading “CD Review: The Light Princess (Original Cast Recording)”
“That thing went bang, kaboom. And he’s havin’ some fun now”
There are shows I love and then there are shows I LOVE and Little Shop of Horrors most definitely falls into that latter category. I fell for its undeniable charms when I was 11 or 12 I think, when my mum was involved in her school production of it, letting me wander backstage, and the MD, who was also my piano teacher, snuck out a copy of Alan Menken’s most tuneful of scores to enliven my lessons for a good few weeks. Combined with the cult classic that is the movie version, I was utterly hooked and have remained so ever since. So I was most delighted to see the Royal Exchange announcing it as their festive fare and with the ever-exciting Derek Bond directing, who in recent years has delivered a bewitching As You Like It, the hugely under-rated Many Moons and Lost in Yonkers, through which I cried pretty much non-stop.
The gloriously rich vocal harmonies of Ibinabo Jack, Ellena Vincent and Joelle Moses as Chiffon, Crystal and Ronnette, the girl-group Greek chorus who doo-wop their premonitions of doom, are an ever-present and magnificent hook into the action and never more so than in the stellar one-two that opens the show. ‘Little Shop of Horrors’ is a stone-cold classic theme tune with its shang-a-langs and throaty comma comma commas but ‘Skid Row’ – one of my all-time favourite songs from a musical, I should add – blooms into resplendent life, benefitting from a slightly slowed tempo and some sympatico choreography to really nail the air of quiet desperation that lies at the song’s heart as we’re introduced to this classic “boy-meets-girl-feeds-plant-her-boyfriend-gets-famous-kills-boss-sacrifices-girl-and-dies” story. Oh yeah, spoiler alert 😉 Continue reading “Review: Little Shop of Horrors, Royal Exchange”
Rob Edwards, in Duet For One and Separation, at the Octagon Theatre, Bolton
Michael Hugo, in Around The World In 80 Days, at the Royal Exchange
Harry McEntire, in Billy Liar, at the Royal Exchange
Dan Parr, in Britannia Waves The Rules, at the Royal Exchange
Michael Shelford, in Early One Morning, at the Octagon Theatre, Bolton
Clare Foster, in Duet For One and Separation, at the Octagon Theatre, Bolton
Natalie Grady, in Hobson’s Choice, at the Octagon Theatre, Bolton
Suranne Jones, in Orlando, at the Royal Exchange
Maxine Peake, in Hamlet, at the Royal Exchange
Lauren Samuels, in Love Story, at the Octagon Theatre, Bolton Continue reading “The 2014 Manchester Theatre Awards nominations”
“See these tears flow, this H2O”
There’s not really much more to say than to bid a fond farewell to this most beloved of shows. Despite the fierce love it engendered in its devoted fans, I personally don’t think a transfer would have necessarily worked so well. There’s something wonderfully neat about its life at the Lyttelton, the length and nature of its run in rep meaning that Rosalie Craig was able to make every single performance – an impressive feat even before one touches on the extraordinary demands of the lead role. And getting to see the final show, with a large group of people who had been equally (if not more) touched by the work – and that includes the extraordinary cast and company, I don’t think I’ve ever seen so much visible emotion at the end of a run – was a genuine privilege.
Since the show shone so brightly, yet so briefly, it has left the kind of indelible impression that will be impossible to shift. I saw it five times in total – you can read about visits one, two, three and four – and each time, it surprised me, its densely complex nature revealing something new each time with different musical motifs becoming prominent, the various themes shifting in emphasis, the texture of the show almost malleable in its changeability. So now we have to wait for the soundtrack and dream of once upon a once a, once upon a time.
“What you have done, has brightened the world”
A review of the fourth time I went to see The Light Princess at the National?
What I will say though, is that it was my first time seeing it from the circle and it really did give a different perspective to some of the more expansive scenes in the Wilderness, the illusion of flowing water much more effective. And Althea’s floating also felt different from afar, the magnificent facial hair less of a distraction from further away… Just one more trip booked now before it ends 🙁
“Ringing out, ringing out…”
Visit number three to this most lovely of shows for me, though I’m lagging way behind the super-fans who are surely up to double figures by now. Original review is here, taster preview post from my first viewing here, and given their exhaustiveness, there’s really little else to add. The Light Princess really is the loveliest of shows and its uniqueness and complexity, the very things that turned others of, is precisely what keeps me coming back (I’ve currently got two revisits booked in before it ends…).
The lushness of the score, tangled as the forest that divides Sealand and Lagobel on first hearing, but richly rewarding repeated listens; the gobsmacking consistency of Rosalie Craig’s immensely physical performance replete with flawless vocal, the gorgeous romanticism of the whole production – you really should book if you haven’t done so already.
“You are, you are…Althea, you are…changing the world for me”
Long awaited and long gestated, Tori Amos and Samuel Adamson’s musical take on The Light Princess arrives at the National in a blaze of theatrical glory that makes it one of the shows of the year. Based on a Scottish fairytale, the teenage heirs of warring kingdoms are both mourning the loss of their mothers but their grief has affected them in different ways. Digby’s soul has become weighed down so heavily he has forgotten how to smile, whilst Althea’s protective mechanism has been to become to airily light that she literally floats above it all. As they rebel against their strict fathers, they each escape to neutral ground only to encounter each other and instant attraction. But emotional articulacy doesn’t come easily and political concerns threaten to tear apart their passion before it even really begins.
Marianne Elliott’s direction pulls together the various elements of her huge creative team with exceptional skill, never losing sight of the sheer magic that the best theatre can bring and marrying a very modern aesthetic with the sometimes traditional feel – Althea’s movement (I don’t fly, I float!) is achieved through some amazing acrobatic work from a team of four with just a little help from some high tech flying rig. And in Rae Smith’s gorgeous designs, it all just looks superb; every movement catching an acute moment of emotion, whether the deft manipulation of a falcon into flight (Finn Caldwell and Toby Olié finally making puppetry make sense to me) or a girl literally raising the spirits of a boy (Steven Hoggett’s inimitable physical language once again heart-stoppingly good). Continue reading “Review: The Light Princess, National Theatre”
Any thought that I might have attended The Critics’ Circle Centenary Conference were immediately quashed when I realised that it was being held on a Friday, hardly conducive to those of us who want to engage with theatre reviewing but also have to hold down a 9-to-5 but maybe that was part of the point… Anyhoo, one of the thornier issues that frequently rears its head is the reviewing of previews and whilst the last thing in the world I want to do is resuscitate that debate, I thought it might be an interesting experiment to do things a little differently.
There are no hard and fast rules about (theatre) blogging and whilst it remains an innately personal exercise for me, there’s no pretending that it exists in a vacuum, cloistered from outside concerns and a fast-changing world. And it seems to me that that is the lesson that theatre criticism as a whole ought to take – railing that things aren’t like they used to be is all well and good but ignoring evolution is just perversely blinkered. Continue reading “(P)review – The Light Princess, National Theatre”