“Everything was free”
A late jaunt to the National to The Suicide, Suhayla El-Bushra’s fiercely contemporary updating of Nikolai Erdman’s 1928 play, before it closed. Though I have to say I wasn’t entirely convinced by it, Nadia Fall’s production is visually hugely ambitious, retooled for the world of YouTubers and hipsters, but ultimately feeling as shallow as the societal trends that it is trying to satirise.
Javone Prince’s Sam Desai is long-term unemployed and newly bereft of benefits, so disillusioned with the world is he that he decides to top himself but when a film clip of him making that decision goes viral, he’s swept along for the ride as all of society try to co-opt him for their own ends. To publicise a café, to get a music deal, to highlight the lack of adequate mental health care. Continue reading “Review: The Suicide, National”
“You must admit that Elle Woods should join the chosen few”
Part of the fun of delving back into these soundtracks, so many of which I’ve had for a while, is challenging the preconceptions that I’ve allowed to build up in my mind. Sister Act the musical is the perfect example, mentally I didn’t rate it so hadn’t listened to it for an age but upon taking the time, I discovered it to be better than I remembered. That works both ways though and I’ve long rated the Legally Blonde the Musical soundtrack on this basis, even though it really stems from me having my favourite four tracks from it on my most listened to playlist.
So yes, ‘Omigod You Guys’ and ‘What You Want’ are two brilliant songs and I’ll fight anyone who says otherwise. Their glossy joie de vivre setting the scene perfectly for this camp-as-tits show and book-ended by the highly amusing ‘There, Right There!’ and the emotive title track which segues from its gorgeous ballad treatment into an energetic 11 o’clock number, there are some cracking musical moments in this show and with national-treasure-in-the-making Sheridan Smith at its helm as the determined Elle Woods, how could it be otherwise. Continue reading “Album Review: Legally Blonde (2010 Original London Cast)”
“Do you still remember, how we used to be…”
Producer Judy Craymer reinvigorated a whole new theatrical genre when she masterminded the ABBA jukebox hit Mamma Mia! to huge box-office success, and so proved the natural choice to steer a show featuring the back catalogue of the Spice Girls and a script by Jennifer Saunders into the West End. The resulting show – Viva Forever – is a story of a young woman who is forced to ditch her bandmates in pursuit of her reality show dreams, the mentor who is determined to exploit her in order to secure her own media career and her mother who is on hand to make sure she never forgets who she is. But it is one that doesn’t quite so much fill the Piccadilly Theatre with girl power as a sense of what might have been.
Crucially, the discography isn’t always sufficient for the task in hand of a jukebox musical. Delving into some of the lesser-known works of the Spice Girls isn’t as much as a problem (though front-loading them so is a curious choice as we have to wait a while for a stone-cold hit) as the way in which the lyrical content has to be shoehorned in, resulting in some awkward fits – ‘Say You’ll Be There’ suffers particularly here. But equally, there are moments that do work. The act 1 closer weaves together ‘Goodbye’, ‘Mama’ and ‘Headlines’ in a rather stirringly affecting manner as the three women reach crucial points in their journey; ‘Spice Up Your Life’ becomes a dazzling fiesta of a Spanish street festival; and the titular ‘Viva Forever’ is recast as a tenderly intimate acoustic ballad. Continue reading “Review: Viva Forever, Piccadilly Theatre”
“Some girls fight hard; some face the trial”
I have tickets for Legally Blonde – The Musical later this month after the cast change as the final part of my trip round the musicals, but when a friend offered me a last second ticket on a cold dark night, I thought why not and decided to give this show another whirl. A more detailed review of the show can be found here, this will focus more on the performances this time round. The cast is largely the same, Richard Fleeshman being the only major change having taken over from Duncan James, but I saw Andy Mace as Professor Callaghan, on for an indisposed Peter Davison.
This really is Sheridan Smith’s show: her energy and vivacity drive proceedings on so effortlessly and naturally and she really is a gifted comic performer, getting the laughs in throughout, but also finding real emotional depth too. There was some unfortunate unscripted drama as she injured her shoulder (apparently nothing serious and not a dislocation as someone reported on Twitter) midway through the first half and the lights came back up as we anxiously waited to find out what would happen. She eventually resurfaced and continued bravely though in some discomfort, perversely lending the finale of Act I a real gritty, tear-jerking quality. An extended interval led us to suspect an understudy would appear, but to her credit, Smith finished the show and her second half performance showed no sign of the injury. I applaud her for continuing on and not wanting to disappoint her audience (who reciprocated with a raucous standing ovation) but I do worry about the physical toll this role is taking on her body, especially as she has now extended to January: it really is a demanding part, Elle is rarely off the stage and sings in the vast majority of the songs. Continue reading “Re-Review: Legally Blonde – The Musical, Savoy Theatre”
“You can’t come in here with all your singing, dancing and…ethnic movements”
If Priscilla Queen of the Desert was the marshmallow on top of the whipped cream on top of your cocoa, then Legally Blonde is the full mug of the best Viennese hot chocolate you can imagine. Sticking closely to the story of the film, with just a little streamlining, we follow Elle Woods, a Malibu princess and sorority queen whose world is rocked when her boyfriend leaves her for Harvard Law School and the pursuit of someone more ‘serious’. Elle then follows him but ends up finding out a lot more about herself than she anticipated. The book is completely original and I found it surprisingly good, the opening numbers of ‘Ohmigod you guys’ and ‘What you want’ were both great tunes, ‘Ohmigod’ in particular will not leave your head for hours! There are of course some weaker numbers in there, but never any boring ones which is achievement enough. Continue reading “Review: Legally Blonde The Musical, Savoy”