“There must be no squeamishness over losses”
In the centenary year of the beginning of the First World War, many a theatre has programmed accordingly but few can lay as effective a tribute as the Theatre Royal Stratford East with their revival of Joan Littlewood’s Oh What A Lovely War which premiered here a little over 50 years ago. The play came in for some stick from that enlightened soul Michael Gove who denounced its political revisionism (and gave it a healthy dose of publicity to boot) but in the final moments of this emotionally exhausting show, only the most totally deluded of fools would have politics on their mind in the face of such unutterable loss of life, something that continues in battlefields today.
There is no denying that the show wears its politics clearly on its sleeve. Devised by Littlewood and Theatre Workshop in the 1960s, its depiction of the class lines within the armed forces speak firmly of its time, and it is interesting to see how the American efforts are viewed at a time before any “special relationships” had been forged. But truly at its heart is the experience of the ordinary soldier and Lez Brotherston’s design never lets us free of the unflinching barrage of information and imagery – projections simulate what life might have been life, a constantly scrolling panel of statistics keep the human cost at the front of our minds. Continue reading “Review: Oh What A Lovely War, Theatre Royal Stratford East”
“And my head I’d be scratchin’ while my thoughts were busy hatchin’
I could have quite happily given The Wizard of Oz a miss, it wasn’t ever really on my list of shows to see but the combined news of a visit from a family member who wanted to see it and Hannah Waddingham’s imminent departure from the ensemble meant that I found myself there on a Saturday evening… There’s something a little odd about its choice as Andrew Lloyd-Webber’s third reality casting show, Over the Rainbow, as the show is not really a fully-fledged musical, no matter how famous some of the songs but he persevered nonetheless. What is even odder is his assembly of a strong musical theatre cast around the eventual winner, Danielle Hope, given the paucity of many of the roles around Dorothy.
Lloyd-Webber’s way around this has been to write new songs, with long-standing lyricist Tim Rice, to beef up the roles of characters like the Wizard and the Wicked Witch of the West and justify the casting of Michael Crawford and Hannah Waddingham respectively. But despite looking a picture with some tricksy staging and wirework, the end result is curiously banal, exceedingly bland and one which rarely excited me. The focus is so much on the stagecraft that the heart of the story is rarely engaged: Hope’s Dorothy is sweet but rarely interesting, there’s little of the ‘star quality’ evident this evening but then the role is not one that really encourages it; Michael Crawford made very little impact either as the Wizard or the cameos as Ozians and so it went, emotion taking second-place to spectacle. Continue reading “Review: The Wizard of Oz, Palladium”