Jesus Christ Superstar takes to the “rock’n’roll” arena. It isn’t good.
“Why waste your breath moaning at the crowd?
Nothing can be done to stop the shouting.”
Amidst the deluge of theatrical content emerging online, it can be quite hard to make decisions about what to actually watch. Andrew Lloyd Webber’s release of the 2012 live arena tour of Jesus Christ Superstar stood out for me as though I did go and see it at the O2, we were seated at the back of the cavernous space and so the opportunity to actually see what happened on the actors’ faces was enough to tempt me. Plus it’s Good Friday…
Pre-dating the Open Air Theatre’s revelatory restaging by three years, Laurence Connor’s restaging of ALW’s 1971 rock opera lays its contemporary allusions thickly (Occupy, Guantánamo, reality TV) but right from the start, you can see how superficial it is. A busy prologue full of kinetic energy references the Occupy movement strongly but as soon as the show proper starts, it’s as if it never happens, you could cut it and never know the difference.
Continue reading “Lockdown theatre review: Jesus Christ Superstar (2012 Arena Tour)”
Perhaps predictably, I have anything but a lovely jubbly time at Only Fools and Horses The Musical at the Theatre Royal Haymarket
“You can’t whack the big pineapple”
Full disclosure – I don’t know if I’ve ever seen an episode of Only Fools and Horses voluntarily. I mean I’ve seen clips and I’ve probably been in a room where other people were watching it, but it was never a show that has figured in my life. So news of Only Fools and Horses The Musical didn’t bring quite the excitement it did for so many others, ensuring that this was a commercial success long before any critics got near it.
And as such, my own reaction can only be viewed through this lens. When people say ‘you don’t have to have seen the TV show to get the jokes’. I can tell you they’re having a laugh. This musical is suffused with injokes, from the pre-show announcements onwards and in some ways, rightly so (having had a similar kind of experience with Acorn Antiques the Musical in this very theatre). Continue reading “Review: Only Fools and Horses The Musical, Theatre Royal Haymarket”
“Here’s a little thing I wrote about life”
A little Sunday night treat at the Union was Songs from the Playground, a showcase of new musical theatre writer John Kristian, giving us snippets from a number of his works-in-progress and featuring a cast of performers that pleasingly contained few of the usual suspects. Don’t get me wrong, I love Julie Atherton, I truly do, but it is nice to see someone else get to do the comedy song for once 😉 And there’s a big one here in the form of ‘The Big O’ with which Catherine Digges had great, knee-trembling fun.
That song came from his revue show Hidden Talents but most of the first act focused on his first musical Vow and an adaptation of the well-known film The Holiday (although it was new to me…). Presented without introduction, it was a solid rather than a spectacular beginning to the evening, a constant flow of context-free new material is hard to fully process though Dan Looney and Bronté Barbé’s awkward teenage party encounter ‘Kiss Me’ was very well done as was Looney’s rapid rattle through ’23 Vows’. Continue reading “Review: Songs from the Playground, Union Theatre”
“I was wond’ring when you gonna notice me”
Hey Producer! is a collection of musical theatre and cabaret songs by composer Danny Davies, pulling together selections from cabarets, excerpts from musicals he has written and specially composed songs for this CD. It was released in 2012, and as is the way with these albums, a spectacular array of performers have been assembled to deliver this material. From fresher talents like Julie Atherton and Daniel Boys to the more experienced hands of Peter Polycarpou and Rosie Ashe, the combined effect is of an old-school musical theatre vibe that is rather pleasing.
The CD starts with a classic cabaret number, Atherton’s ‘Hey Producer!’ in which a budding star pleads for her chance for a big break, offering up any kind of inducement including her body even though “you’re probably gay” – witty and light and one can imagine it going down a storm somewhere like the Crazy Coqs. We then move into a sequence of impassioned old-school balladry – Patrick Smyth’s ‘Falling Rai’n, Chris Thatcher and Alison Jiear’s ‘One More Night’ and Polycarpou’s ‘Twice the Man’ all stir the soul with noble sentiment, rousing emotion and most significantly, cleanly memorable tunes. Continue reading “CD Review: Hey Producer!”
“A sad tale is best for winter”
The last two adaptations of William Shakespeare’s The Winter’s Tale (Propeller and the Unicorn’s recent version) have left me rather distraught with their takes on this problem play, and Howard Goodall similarly had me reaching for the tissues with his Love Story and last year’s revival of The Hired Man at the Landor Theatre. So it’s safe to say that there was a certain degree of expectation as I returned to the Clapham North pub theatre to see the final preview of Goodall’s latest project, A Winter’s Tale – a musical inspired by Shakespeare’s play with a book by Nick Stimson.
The first act is just glorious. This Sicilia is a dark, military world and this is obvious from the off with a magnificent multi-layered opener of goose-pimpling intensity which sets the scene perfectly. Pete Gallagher’s Leontes and Alastair Brookshaw’s visiting Polixines make a fine pair of kings, all good-natured joshing until Helen Power’s Ekaterina enters the scene to persuade Polixines to extend his visit whereupon the red mist of vicious jealousy descends on Leontes with devastating consequences for all concerned. Goodall’s swirling melodies and impassioned lyrics are ideally suited to this emotional whirlpool and all three leads excel, backed up by a large but impressive ensemble who bear witness to the tragic consequences of Leontes’ blinkered viewpoint. Continue reading “Review: A Winter’s Tale, Landor”
“Tell the mob who sing your song that they are fools and they are wrong”
Having gone down the road of television casting once again for one of his shows and quite possibly killing off the genre at the same time, Andrew Lloyd-Webber’s much-touted revival of his 1971 rock opera Jesus Christ Superstar will hopefully have the same effect on staging theatrical productions in cavernous arenas like London’s O2. Director Laurence Connor’s concept has been to relocate the loose retelling of Jesus’ last week to a modern-day context, pulling out strong allusions to the Occupy movement, riots, Guantánamo Bay and reality television.
Tim Minchin’s Judas is the undoubted highlight of the show, a stirringly confident rock vocal of fierce conviction that near perfectly captures the essence of what Lloyd-Webber is trying to achieve but elsewhere there is much less strength. Ben Forster’s Jesus mauls Gethsemane almost beyond recognition but fares better elsewhere where his falsetto is more aptly deployed and his angst not so overplayed; Melanie Chisholm’s goth take on Mary Magdalene is anaemically thin and utterly forgettable; Chris Moyles’ highly gimmicky Jerry Springer-esque King Herod – he hosts a show called Hark! with Herod, a rare flash of genuine humour – is thankfully brief; Alex Hanson’s Pilate is a quality performance that stands out from a hard-working ensemble, but too often the wide lens of the show means that their efforts pass by unnoticed. Continue reading “Review: Jesus Christ Superstar, O2 Arena”
“Is it possible to be drunk and have a hangover at the same time”
Staged and directed at the Union Theatre by Michael Strassen, whose award-winning production of Assassins played here in 2010, the plot of The Fix follows the Chandlers, a Kennedy-esque dynasty of political players. When presidential hopeful Senator Reed Chandler pops his clogs in flagrante with a lady other than his wife, the family’s attention turns to Cal, his layabout playboy son. Mother Violet, a gin-sozzled matriarch, and uncle Grahame, a crippled gay Machiavelli, groom him to take up the family mantle but Cal is a reluctant politico, seeking refuge in drugs and extra-marital affairs. And as the stakes get higher the further into government he rises, the more dangerous it gets for those skeletons in the closet.
Composed by Dana P Rowe and with book and lyrics from John Dempsey, the 1997 show unfortunately occupies an uneasy middle ground between trying to tell the story above, yet simultaneously make satirical digs at the political classes, and I am not sure that it does either particularly well. It is therefore to their credit that the lead players, under Strassen’s careful direction, manage to tease as much out of their characters as they do. Continue reading “Review: The Fix, Union Theatre”