Follies 2019 remains the show that I need right now
“I’m so glad I came”
Just a quickie for this revisit to Follies, which remains as perfect a piece of musical theatre as I could hope for. I loved it then but I really love it now, Joanna Riding is just heartbreakingly perfect as Sally, she really brings something to the role that somehow eluded Imelda Staunton (for me at least), Alexander Hanson is superb in tracing Ben’s tragic fall, and Janie Dee and Peter Forbes maintain their stellar work as Phyllis and Buddy (seriously, Dee is a proper showstopper).
And as is surely appropriate in Dominic Cooke’s production, ghosts of the past interplay with what we’re seeing from top to bottom. It was great to see Dame Felicity Lott as Heidi, a different but no less affecting proposition than Dame Josephine Barstow (there truly ain’t nothing like a…). And the young talents of Gemma Sutton, Ian McIntosh, Harry Hepple and Christine Tucker are eloquently elegant as the younger incarnations of the central quartet. Continue reading “Re-review: Follies 2019, National Theatre”
The Olivier Award-winning Follies returns to the National Theatre in richer, deeper, more resonant form and just blows me away
“It’s the cat’s pyjamas”
Like the ghosts of their younger selves that haunt the characters in Follies so beautifully in this production, for those who were lucky enough to catch its superlative Olivier Award-winning 2017 run, so too do our memories interplay with what we’re seeing, inducing some soul-shiveringly exceptional moments that are almost metatheatrical in the feelings they provoke.
The tingle of anticipation is never far away but the show somehow feels richer, deeper, more resonant in the note of melancholy it strikes as it exposes nostalgia for the rose-tinted self-delusion it so often becomes. Janie Dee’s Phyllis somehow feels more desolate, especially in her bitterly brilliant ‘Could I Leave You’; Tracie Bennett scorches the roof once more in ‘I’m Still Here’ in what feels like a more internal performance now; we’re all at least a year older… Continue reading “Review: Follies 2019, National Theatre”
With Allelujah! at the Bridge Theatre, the return of Alan Bennett leaves me less than enthused
“Still, it was better than this”
In some ways, Allelujah! is perfectly symptomatic of the problem I have with the Bridge Theatre. Does London really need any new theatres, no matter how much people think they want interval madeleines? Does it especially need ones that put on large-scale Alan Bennett premieres? It is nice to see Nicholas Hytner maintaining the long-gestating creative relationship he has with Bennett but at the point where his new venture is now just a carbon-copy of his former home down the South Bank, except with premium seating, it is increasingly hard to make the case for it.
It doesn’t help that this isn’t vintage Bennett. His first play in six years, Allelujah! takes place in the crowded geriatric ward of the Bethlehem, a Yorkshire hospital threatened with closure. A camera crew are filming a documentary, allowing many of the patients to wax lyrical about lives that have passed on by, the England that once was. And in the corridors around the hospital, Bennett similarly lets rip, on the loss of compassion in our society, a social care system on its knees, an NHS in an even worse state, privatisation, gentrification, the downright stupidity of an immigration system that is leaching away the very talent we need to stay. Continue reading “Review: Allelujah!, Bridge Theatre”
A contemporary adaptation of King Lear does little to prove its worth on BBC Two
“Some villain hath done me wrong”
A belated visit to this Bank Holiday TV offering and one I should probably have left alone. I’m not the biggest fan of King Lear, nor of Anthony Hopkins if I’m honest. But the notion of a contemporary adaptation and a deluxe level of supporting casting was enough of a draw for me to give it a try.
A co-production between the BBC and Amazon, this Lear has been adapted and directed by Richard Eyre. Trimmed down to a scant couple of hours and located in a contemporary England, it clearly has its eye on new audiences as much as your Shakespearean buff, and I’d be intrigued to know how the former reacted. Continue reading “TV Review: King Lear, BBC Two”
“Darling, shall we dance?”
Not too much more to say about Follies that I didn’t cover last time
, suffice to say it’s just such a luxuriously fantastic show and I think I could watch it over and over! The head-dresses! Everything Janie Dee does! The orchestra! How no-one seems to be falling down that staircase! The staging! The shade of mint green in Loveland! The Staunton’s icy bitterness in ‘Losing My Mind’! The amount that Josephine Barstow has now made me cry, twice! The Quast! Just get booking now, while you still can.
Running time: 2 hours 20 minutes (without interval)
Booking until 3rd January, best availability from 6th November
Follies will be broadcast by NT Live to cinemas in the UK and internationally on Thursday 16 November.
An utterly majestic production of Sondheim’s Follies is a masterpiece for the National Theatre
“All things beautiful must die”
Well this is what we have a National Theatre for. For Vicki Mortimer’s set design that both stretches towards the heights of the Olivier and lingers some 30 years back in the past; for the extraordinary detail and feathered delights of the costumes; for the lush sound of an orchestra of 21 under Nigel Lilley’s musical direction; for a production that revels in the exuberance and experience of its cast of 37. And all for what? For a musical that, despite its iconic status in the theatre bubble, is more than likely to raise a ‘huh?’ from the general public (at least from the sampling in my office!).
Stephen Sondheim (music and lyrics) and James Goldman’s (book) Follies is a show that has a long history of being tinkered with and more often than not, is as likely to be found in a concert presentation (as in its last London appearance at the Royal Albert Hall) as it is fully staged. Which only makes Dominic Cooke’s production here all the more attractive, not just for aficionados but for the casual theatregoer too. Using the original book with just a smattering of small changes, this is musical theatre close to its most luxurious, and a bittersweetly life-affirming thrill to watch. Continue reading “Review: Follies, National Theatre”
“I said hip, hop, Santa’s gonna stop”
Has ever a movie franchise fallen from grace quite so sadly as Debbie Isitt’s Nativity films? It was made worse for me as I watched them all for the first time this year and so the decline has been compressed into a couple of weeks. The first film utterly enchanted me, the second somewhat disappointed by the third – Nativity 3: Dude, Where’s My Donkey – thoroughly junked everything that worked about the original.
Once again, a new teacher is introduced to St Bernadette’s (this time, Martin Clunes’ Mr Shepherd) and once again, inimitable (and irritating) teaching assistant Mr Poppy (Marc Wootton) is on hand to cause mayhem with his unruly antics leading his class astray. But where the first film was rooted in the universal appeal of school nativities, this sequel opts for the bandwagon-jumping of focusing on flashmobs, which meant it was probably out-of-date as it arrived in cinemas last winter, never mind now in 2015. Continue reading “DVD review: Nativity 3 – Dude, Where’s My Donkey”
Having had a near-perfect experience in on the front row at Chichester for Singin’ in the Rain, I didn’t think it could be topped by visiting the London transfer – sometimes I think it is best not to go back. But listening to the cast recording released by the London cast in 2012, I’m kinda wishing that I had. It is a cracking musical whichever way you cut it but this is a brilliant record of a dazzling production that, dare I say it, I listen to just as much as the original film soundtrack.
This CD features 19 tracks, marking a slightly different tracklisting to previous theatrical productions, with most of the reprises included too. Larry Wilcox and Larry Blank’s orchestrations sound just luscious under Robert Scott’s musical direction, making the instrumentals just as vividly vibrant to listen to as the iconic songs we’ve all come to know and love and in Adam Cooper, Scarlett Strallen and Daniel Crossley’s expert hands, they are gloriously great. Continue reading “Album Review: Singin’ in the Rain (2012 London Cast Album)”
“I thought when it came to it, I would be good at it”
Despite the fact that I really wasn’t a fan of How To Hold Your Breath, I can’t help but be impressed by the way that Vicky Featherstone really has shaken up the Royal Court since taking over as Artistic Director last year. The diversity in programming may mean that there’s no such thing as a safe bet there any more (something to play havoc with those who carefully book everything months in advance) but there’s something thrilling about that unpredictability, and also the variety that it thus lends to people’s theatregoing.
Turning into more of a lucky dip does mean that you’re not always going to pick a winner and such was the case for me with ZInnie Harris’ new work. A densely written and constructed play, it imagines a Europe swallowed whole by a new financial crisis and leaving the remnants of society to fend for themselves, turned into refugees fighting to cross the border into Istanbul or gain passage on rickety ships bound for Alexandria. With a seductive demon on one shoulder and her pregnant sister on the other, Maxine Peake’s Dana finds herself forced into that such a journey. Continue reading “Review: How To Hold Your Breath, Royal Court”