If gay jokes and boob jokes and dick jokes are your thing, then Young Frankenstein is for you. Not for me though, not at all.
“Though your genitalia
Has been known to fail ya
You can bet your ass on the brain”
It’s alive…barely. Mel Brooks’ Young Frankenstein staggers into the West End after some more time on the operating table since its 2007 Broadway opening (2 new songs are among the changes made) and a short run in Newcastle to tighten the bolts. But for a piece of new musical theatre, it is so desperately old-fashioned that you half expect Russ Abbot and Bella Emberg to pop up and do a turn.
Given that Brooks is now over 90 and that the film on which it is based dates from 1974, it is perhaps little surprise that it feels dated. But also given director/choreographer Susan Stroman’s close collaborative relationship with him, the opportunity to be necessarily brutal about what works and what doesn’t feels to have been lost, lightning really hasn’t struck twice for the creators of The Producers. Continue reading “Review: Young Frankenstein, Garrick”
“So ‘stead of just kicking me why don’t they give me a lift?”
The Menier Chocolate Factory’s extremely well-received production of Funny Girl has been as much beleaguered as blessed as it wound its way into the West End, garnering acres of extra publicity that the show barely needed given its impressive ticket sales and subsequently announced UK tour. But so relentless has the focus been on leading lady Sheridan Smith and her absences from the show whilst looking after her mental health, that you begin to doubt the maxim that all publicity is good publicity.
Doubtless, a conversation needs to happen about the expectations that are raised when a show is sold on the name of its star. You can argue convincingly that a production is always bigger than its star name, and understudy Natasha J Barnes deservedly got much acclaim for filling in for Fanny but the case is undermined somewhat when the producers put that name above even the show’s title on the publicity (on Broadway, you’re entitled to a refund or exchange if an above-the-title star is off…). Continue reading “Album Review: Funny Girl (2016 London Cast Recording)”
“I guess we’re both happy, but maybe…we ain’t”
As recently demonstrated with Adele’s 25, there comes a point where commercial success just trumps critical response even before the reviews have been published and digested. The Menier Chocolate Factory’s revival of Funny Girl broke box office records in selling out its entire run in mere moments, announcing its transfer to the West End and then selling a vast majority of tickets for the Savoy all before the show had even opened, such is the draw of star Sheridan Smith.
So in some ways it doesn’t matter that Funny Girl really isn’t a great show, one unseen in the West End for nearly 50 years. Musically, Jule Styne’s score front-loads its hits fatally and dramatically, Isobel Lennart’s rather insipid book runs out of steam well before the end, even with Harvey Fierstein’s newly introduced revisions. And for all of the strengths of Michael Mayer’s production, there’s little it manages to do paper over these cracks. Continue reading “Review: Funny Girl, Menier Chocolate Factory”
“Not bad for a 35 year old”
Kevin Spacey’s swansong as artistic director at the Old Vic doesn’t open officially until next week but I only have a handful of days left for the above quote to remain pertinent to myself so I’m writing up High Society now – the usual disclaimers about previews apply. Maria Friedman’s directorial debut was the highly critically acclaimed Merrily We Roll Along so it makes sense for her to return to the world of musical theatre with this Cole Porter classic, given added spin here as the venue remains in the round.
It’s a funny old piece though, Arthur Kopit’s book is based on Philip Barry’s 1939 play The Philadelphia Story and follows the trials of Tracy Lord (I didn’t know they had Tracys in the 1930s), a rich socialite about to get married who suddenly finds herself with three suitors – her dull fiancé, a charismatic tabloid journalist and her dashing ex-husband. As the pre-wedding parties start and the champagne flows liberally, there’s decisions to be made and some of Porter’s finest songs to be sung but little real fizz, to start with at least. Continue reading “Review: High Society, Old Vic”